#it could be set in the same sort of universe

[fear-less]

₊˚⊹˚ 𐙚 this is awkward..

pairing: james potter x f!reader

➥ In which, you were fed up with James, deciding to put aside your pettiness you drag him away from the gryffindor party to talk to him.

Warnings: angst, fluff, james pov, this inspired by awae (aka the best show ever), r and james speaking is 𝓱𝓮𝓪𝓿𝓲𝓵𝔂 inspired by gilbert confessing that he wants anne so effing bad bc he 𝓯𝔀 𝓱𝓮𝓪𝓿𝔂, lowkey dont hate me for making the “dreams” u want so like…. I just didn't know what to do bc like idk smh i set back women 50 years by that

a/n: tysm for all the love on this series!! y’all are NOT ready for the next chapter, writing it rn and 😭🙏 BUTTT tysm for 300🫶🫶 also I finished the last chapter... do y'all want me to post it today or edge y'all and post it tomorrow

series masterlist ! - divider creds: i-mmaculatus & dollywons

It was now nearing the end of the school year—even if there was still a month to go. James could now be in the same room as you without glaring daggers at whoever you were talking to. Though he told himself he was over you, he knew deep down that the feelings never faded.

He told himself it didn’t matter. He told himself he was fine. And yet, every time he caught sight of you, every time your laughter reached his ears from across the room, it was as if someone had set fire to his resolve.

He wanted to talk to you so badly it was almost pathetic. But it was like the universe itself was conspiring against him—or, more specifically, like Finn Laurier had developed some sort of sixth sense for James’s intentions.

Because every single time James gathered enough courage, every time he braced himself to walk over to you, Finn would appear out of nowhere. Whether it was in the Great Hall, the library, or even during Quidditch practice, Finn always seemed to materialize by your side at precisely the wrong moment, stealing away your attention and leaving James feeling like the outsider in his own story.

It was infuriating.

“Mate, you’re grinding your teeth,” Sirius remarked casually one afternoon as they sat under the beech tree by the lake.

James startled, realizing with some embarrassment that Sirius was right. He quickly unclenched his jaw and let out a frustrated sigh.

“Sorry,” he muttered, running a hand through his messy hair. “I’m just…”

“Just what?” Sirius prompted, raising an eyebrow.

“Nothing,” James lied, though his voice betrayed him.

Sirius gave him a knowing look. “If this is about her again, just—”

“It’s not about her,” James interrupted quickly, though he winced as the words left his mouth. He knew Sirius wouldn’t believe him, and he wasn’t sure he even believed himself anymore.

Sirius sighed, shaking his head. “Prongs, you’re going to drive yourself mad if you keep this up. Just talk to her already.”

“I’ve tried!” James snapped, louder than he intended. He lowered his voice and added, “I’ve tried, but every bloody time, Finn shows up. It’s like he’s got a bloody tracker on her or something.”

Remus, who had been quietly reading nearby, finally chimed in. “You know, maybe you’re overthinking this,” he said, not looking up from his book.

“How could I possibly be overthinking this?” James demanded, throwing his hands up in exasperation.

“Maybe Finn’s not doing it on purpose,” Remus suggested calmly. “Maybe it’s just bad timing.”

“Bad timing?” James repeated incredulously. “Bad timing doesn’t happen this often, Moony. This is a pattern.”

Remus gave him a skeptical look but didn’t argue further.

James leaned back against the tree trunk, closing his eyes and letting out a long breath. He hated how much this was bothering him. He hated how much control this entire situation had over him.

But most of all, he hated the thought that you might actually be happy with Finn.

It wasn’t that he thought Finn was a bad guy—quite the opposite, really. Finn was charming, talented, and annoyingly good at everything he did. He was the kind of guy parents adored, the kind of guy professors went out of their way to praise. And worst of all, he was the kind of guy who could make you smile in a way James had only dreamed of.

James opened his eyes, staring up at the branches overhead. “Maybe I should just give up,” he muttered.

Sirius snorted. “Yeah, right. That’s the most ridiculous thing you’ve said all day.”

“I’m serious,” James insisted.

“No, I’m Sirius,” Sirius quipped, smirking.

James groaned, throwing a small pebble in his direction. “Not the time for jokes.”

“Fine, fine,” Sirius said, holding up his hands in mock surrender. “But seriously, you’re not giving up. You’re James Potter, remember? Stubborn, arrogant, never-takes-no-for-an-answer James Potter. You don’t give up on things you care about.”

James hesitated, staring at the rippling water of the Black Lake. He wanted to believe Sirius. He wanted to believe that there was still a chance, that you weren’t as far out of reach as you seemed.

But as he watched you across the courtyard later that day, standing beside Finn and laughing at something he said, James couldn’t shake the feeling that maybe, just maybe, it was too late.

But his doubt soon melted into something far more unsettling when he noticed your gaze shift. For the first time in what felt like forever, your attention wasn’t on Finn Laurier—it was on him.

James felt like he might throw up.

His heartbeat thundered in his ears, and his hands fidgeted with the hem of his robes as he quickly looked away. In fact, he didn’t just look away; he turned his entire body in the opposite direction, hoping to mask the flush rising to his cheeks.

“C’mon, James, you’ve got a Quidditch game to win today! Channel all that anger you’ve got towards Laurier into winning us the Cup!” Sirius said, clapping a hand on James’s shoulder with his trademark grin.

James gave a faint nod, trying to let Sirius’s words sink in. He wasn’t sure if it would work, but he had to admit—focusing on Quidditch might be better than brooding.

As the match began, Sirius’s advice started to help. Flying through the air, the roar of the crowd, and the adrenaline coursing through his veins almost made him forget the mess he was tangled in. Quidditch always had a way of making the weight on his shoulders feel lighter.

Almost.

At first, he wasn’t paying much attention to the game. His mind wandered back to you, back to everything that had gone wrong. He thought about what he would say, how he could even begin to fix things. And, like always, he couldn’t resist scanning the crowd for you.

Even in the middle of a fight, even when he swore to himself that he was done, James always looked for you in the stands.

And he found you—right where he didn’t want to.

You were sitting with Finn Laurier, your hand clasped in his. James’s stomach twisted painfully at the sight, and he forced himself to look away, though the image burned into his mind.

Of course. Finn fucking Laurier.

He sighed, his grip tightening on his broomstick. There was no point in hoping anymore. Whatever chance he’d had—if he’d ever had one—was gone now. Maybe he’d already been downgraded in your life: a friend at best, a stranger at worst. The thought stung, and James shoved it down, refusing to dwell on it any longer.

And then, something golden caught the corner of his eye.

The Snitch.

For the first time all game, James’s focus snapped into place. He leaned forward on his broom, his heart pounding—not from heartbreak this time, but from the sheer rush of competition. If nothing else, he could still win this. He could still bring home the Cup.

James shot after the Snitch with everything he had, the rush of wind against his face only fueling his determination. The crowd roared, but their voices blurred into the background. His world narrowed to one thing: the golden glimmer darting just ahead.

The Hufflepuff Seeker was hot on his trail, but James barely registered them. This was his moment. The Snitch veered sharply to the right, and James followed, his reflexes razor-sharp. He could feel the weight of his emotions—anger, heartbreak, frustration—all pouring into this chase.

The Snitch dipped low, skimming just above the grass, and James dove after it, his fingers outstretched. The Hufflepuff Seeker was closing in fast, but James didn’t care. He pushed his broom harder, faster, his body leaning forward so much it felt like he might fall off.

And then, his fingers closed around the Snitch.

The Gryffindor stands erupted into cheers, deafening and jubilant. The sound echoed across the pitch as James pulled up, the Snitch held high in triumph. For the first time all week, a genuine smile broke across his face.

He’d done it.

Back on the ground, his teammates swarmed him, yelling and celebrating as they lifted him off the ground in a flurry of hugs and pats on the back. Sirius was the loudest, of course, laughing as he shouted, “That’s my best mate! Did you see that dive? Bloody brilliant!”

James grinned, allowing himself to soak in the moment. But as the initial adrenaline rush faded, his thoughts drifted back to you.

Through the crowd, he spotted you walking toward the castle with Laurier. You looked happy—laughing at something Finn said, your hand still in his.

James’s chest tightened, the pain creeping back in.

Sirius slung an arm around his shoulders. “Oi, don’t let that git ruin your moment. You just won us the Cup, Prongs. Focus on that, yeah?”

James forced a nod, plastering a smile on his face. “Yeah. You’re right.”

But deep down, as the team carried him back to the common room, the ache lingered. Winning the match had been a distraction, but it wasn’t enough to erase what he felt for you—or the sting of seeing you with someone else.

Still, James promised himself one thing: he’d get through this. Maybe not today, maybe not tomorrow, but eventually. And who knew? Maybe, someday, you’d see him the way he saw you.

ʕ•̫͡•ʕ•̫͡•ʔ•̫͡•ʔ•̫͡•ʕ•̫͡•ʔ•̫͡•ʕ•̫͡•ʕ•̫͡•ʔ•̫͡•ʔ•̫͡•ʕ•̫͡•ʔ•̫͡•ʔ

The Gryffindor common room was a chaotic blur of red and gold, filled with triumphant cheers and laughter. The moment the team returned from the pitch, the party was already in full swing. Someone had charmed a banner to flash "Gryffindor Wins the Cup!" in shimmering letters, and butterbeer bottles floated around the room, courtesy of a cheeky charm from Sirius.

James stood in the center of it all, grinning as his teammates and housemates patted him on the back and congratulated him. For a brief moment, he allowed himself to bask in the glory of the victory, letting it drown out the knot in his chest. He’d won the game, and Gryffindor had the Cup—he deserved to enjoy it.

“Prongs!” Sirius yelled over the noise, shoving a butterbeer into his hand. “You’re the man of the hour! You better milk this for all it’s worth, because Merlin knows you deserve it.”

James laughed, shaking his head. “Don’t let me hear you say that too often, Padfoot. I might start believing it.”

Sirius gave him a devilish grin. “Oh, you will. Now, c’mon, let’s make some noise!” He climbed onto a table, raising his bottle high. “To Prongs, our Quidditch hero!”

The room erupted in cheers, and James couldn’t help but laugh, taking a sip of his butterbeer as the noise washed over him. For the first time all day, he felt lighter.

As the party went on, James moved through the crowd, chatting and laughing with his housemates. But no matter how loud the celebration got, his eyes kept drifting to the door, half-hoping, half-dreading to see you walk in.

And then, you did.

James froze mid-conversation, his heart doing that familiar stutter-step it always did when he saw you. You looked radiant, wrapped in Gryffindor colors, your cheeks flushed from the cold. But his chest tightened when he noticed Laurier trailing behind you, his hand resting casually on the small of your back.

James quickly turned back to his conversation, forcing a smile and pretending not to notice. He wasn’t going to let Finn Laurier—or his own stupid feelings—ruin the night.

“Oi, Prongs,” Sirius said, appearing at his side again. “Stop moping and do something fun. We just won the bloody Cup, mate! At least pretend you’re having the time of your life.”

James forced another grin. “I am having fun, Padfoot. Loads of fun.”

Sirius narrowed his eyes. “You’re staring at her again, aren’t you?”

“I’m not,” James lied, taking a long sip of butterbeer.

Sirius groaned, grabbing James by the shoulders. “Look, here’s what you’re going to do. You’re going to stop torturing yourself, and you’re going to have a bloody fantastic time tonight. And if that doesn’t work, we’ll prank Laurier so hard he won’t know which way is up. Deal?”

James couldn’t help but laugh at that, shaking his head. “Alright, deal.”

Hours later, the party was still going strong. Someone had turned the music up, and the common room had transformed into a dance floor. James found himself dragged into the middle of it by Lily Evans, who gave him a pointed look.

“Stop sulking, Potter,” she said, smirking. “You just won the Cup. Act like it.”

“I’m not sulking,” James said, though his half-hearted smile gave him away.

Lily raised an eyebrow but didn’t press further. Instead, she tugged him into the rhythm of the music, and for a while, James let himself get lost in the moment.

It wasn’t until he caught sight of you again, laughing at something Laurier said, that the knot in his chest returned. He took a deep breath, plastered on another smile, and decided that, for tonight, he’d keep pretending.

He watched you from across the room as you and Laurier continued talking, laughter bubbling between you two. He could see the way you looked at him now—so different from the way you looked at him before. It was like there was a barrier, a wall that hadn’t been there when he first met you.

“Prongs,” Sirius appeared at his side again, his voice low and concerned. “Look, I know you’ve been through a lot, but this is ridiculous. You’re letting Laurier ruin your night—and you just won us the Cup, for Merlin’s sake. You’re allowed to be happy tonight. So go talk to her. If you don’t, I swear I’ll do it for you.”

James frowned at him, irritated. “I’m not talking to her, Pads. Not now.”

“Then at least get out of here and enjoy yourself,” Sirius pressed. “We’re celebrating, mate. You’ve earned it.”

James looked over at you one more time, and for a second, he almost gave in. But the knot in his chest was still there, tightly wound, and it made everything feel so much harder than it should’ve been.

But maybe... maybe he could find a way to feel better. Maybe he could lose himself in the celebration.

“I’ll think about it,” he finally muttered, glancing at his friends.

Sirius didn’t seem convinced but let out an exaggerated sigh. “Fine, but I’m not letting you go off and brood in some corner. The whole bloody school’s celebrating with you tonight.”

James smirked faintly, feeling a little lighter. Maybe he could pretend to be okay, at least for tonight. He could let the victory, the laughter, and his friends drown out the ache for just a little while longer.

But as the night continued, and as the music played on, James found himself once again looking toward the doorway, hoping—just hoping—that you’d look his way.

For the first time in forever, the world was finally on his side as he saw you quickly leaving Finn and walking straight to him.

“May I speak to you, please?” James nodded, Dumbfounded. 

You quickly grabbed his hand and went outside the common room and into the corridors. 

You took a deep breath, your fingers twisting nervously. “James… I’ve been meaning to talk to you for a while now.”

James’s throat went dry, his pulse quickening as he struggled to find his voice. “Yeah?”

You nodded, glancing down at your hands before meeting his gaze. “I—I’m sorry.”

That wasn’t what he had expected. Of all the scenarios he’d played out in his head, an apology hadn’t been one of them.

“For what?” he asked, genuine confusion coloring his voice.

“For everything,” you said in a rush, your words tumbling out before you could stop them. “For avoiding you. I was confused—about what I did that made you ignore me. And I guess I wanted to get back at you for ignoring me, so I decided to do the same to you. And… I’m sorry for whatever happened between us that made things so weird.”

James stared at you, your vulnerability hitting him like a Bludger to the chest. His heart ached at the uncertainty in your voice.

“You don’t have to apologize,” he said quickly, shaking his head.

“Yes, I do,” you insisted, your voice firm despite the tears welling in your eyes.

“No, you don’t,” James countered, his tone soft yet resolute. “It’s not fair to put all of this on yourself. You’ve always been there for me, and I—well, I’ve been a terrible friend lately. I was practically acting like you didn’t exist.”

James faltered when he saw the blank expression on your face. Panic flickered in his chest—had he said too much?

But before he could say anything more, you stepped forward and wrapped your arms around him.

“Oh, James,” you murmured into his shoulder. “It’s okay. I—I was acting like you didn’t exist too, but only because you were doing it to me.”

He blinked, caught off guard, before slowly relaxing into the hug. He looked down at you, his hand instinctively reaching up to brush away a stray tear trailing down your cheek.

“I’m sorry,” he whispered, his voice thick with emotion.

You shook your head, a small, watery smile breaking through. “We’re both sorry. Let’s just… not do this anymore, okay?”

James nodded, a faint smile tugging at his lips. “Deal.”

“It feels so much better having my best friend around again.” James’ smile faltered again, he never liked the word “best friend” when it came to you, he always wanted more.

“Definitely”

You two let each other talk for what felt like hours even though it was barely fifteen minutes. He enjoyed every second though, until you brought up Finn and future plans they may include him. He couldn't believe it, when had your parents met his? He remembers your dad telling him how much he was rooting you and him to be together, now he's okay with you dating some other dude? And worst of all, your father was okay with that same dude wanting to marry his daughter? James felt like throwing up.

“Then he said that my father laid it out on a silver platter.”

“Laid... what out on a platter?”

“My future! Gave him the blessing to...to propose. I don't know what to do.”

“You told me you don’t mind being married straight after Hogwarts if you truly loved the man. That being a wife and mother... is your dream. Finn is.. nice, and both of your guys’ parents are supportive. I don't understand. What's holding you back?”

“Just… one thing.”

“What am I supposed to do? Everyone else is just... moving on, and now you’re... and I’m still... We never even... And he’s there, and you’re—Merlin, you’re never going to find someone who—” James stopped, his voice cracking. “I know that much, so how... how am I supposed to... I can’t... I— We...”

Before you could speak–a drunk Sirius somehow found you two. “Woah James you're really speaking to her? Atta boy, now, let's get back to the party, cmon, we are going to do something cool, have you heard of ....” Sirius rambled on, tugging on James’ arm to drag him back to the party.

“I’ll be off, then.” You said, voice quivering as if hesitant to leave.

ʕ•̫͡•ʕ•̫͡•ʔ•̫͡•ʔ•̫͡•ʕ•̫͡•ʔ•̫͡•ʕ•̫͡•ʕ•̫͡•ʔ•̫͡•ʔ•̫͡•ʕ•̫͡•ʔ•̫͡•ʔ

All James could think about was the previous night—the talk you two had shared. Your words, your voice, the hesitation in your eyes—it all replayed in his mind like a haunting melody. What would’ve happened if Sirius hadn’t barged in, if James had told him to leave, if he’d been brave enough to stay in that moment with you?

“I think…” James began, his voice breaking as he paced the Gryffindor dormitory, “I think she might’ve been asking if I love her. And—and I think I told her to marry someone else.”

Sirius, slouched in the chair by the window, looked stricken. “Mate…” he started, his tone heavy with guilt. “If I’d known—if I knew what was happening—I wouldn’t have gone looking for you. I—I practically ruined your chances. Merlin, I’m so, so sorry.”

James stopped pacing, running a hand through his already-messy hair. “It doesn’t matter. I don’t even know if she meant it. She said so much without really saying anything, and now I don’t know if I imagined it all.”

“‘Sure, take option two,’ when option one is all she wants for her future?” James muttered, his voice thick with frustration.

“What is option one?” Peter asked, his curiosity breaking the tension.

James scoffed, bitterness creeping into his tone. “It’s Finn, obviously.” He paused, his anger flaring. “But both their parents support it, and she told me that! Before she spilled all of that on me, we were talking and laughing like nothing was wrong. But now…” He exhaled sharply, his voice softening as he sat down on the edge of his bed. “Now it feels like I’m being asked to explain the rest of my life on a bloody ticking clock. And if I make the wrong decision, I’ve either ruined my life—or hers.”

The room fell silent. Sirius and Peter exchanged uneasy glances, while Remus seemed lost in thought, unsure of how to respond.

ʕ•̫͡•ʕ•̫͡•ʔ•̫͡•ʔ•̫͡•ʕ•̫͡•ʔ•̫͡•ʕ•̫͡•ʕ•̫͡•ʔ•̫͡•ʔ•̫͡•ʕ•̫͡•ʔ•̫͡•ʔ

Meanwhile, you had confided in your mother about your plans the night before: to finally tell the man you truly loved how you felt. You hadn’t wanted to bring it up while you and James were laughing and enjoying each other’s company, but you knew if you didn’t seize the moment, you’d never say it at all.

What you hadn’t expected was for him to turn you down. To tell you—calmly, almost dismissively—that you should marry Finn.

Your mother was waiting for your response. You knew she expected good news, a letter confirming that you and James were finally together. Instead, you sat at your desk, penning words that left a bitter taste in your mouth.

Dear Mother,

I did what you told me to do, but I fear I shouldn’t have. We were talking just fine, and then I told him everything. I told him how I felt. And he told me to marry Finn.

Finn is lovely, yes—but he’s not James. I asked James if there was any chance for us, and he said no. At least now I have clarity on where I stand with him. And I know it sounds awful to compare Finn to James, but... maybe knowing what I know now, I can learn to be happy with Finn. Father and Finn’s family are all thrilled, after all. I don’t even want to think about what I would’ve done if James had said he felt the same.

You sighed, folding the parchment carefully and sealing it in an envelope. The weight of your words sat heavily on your chest, but you couldn’t dwell on them any longer. You needed to send this letter immediately.

Pulling on your cloak, you found yourself heading for one of the secret passages to Hogsmeade—the ones you and James had used so often. The memories stung, but you pushed them aside. This time, you’d be using the passage alone.

The quickest way to deliver your letter was through the owlery. You knew exactly which owl was the fastest.

As you walked, you let your mind wander to James one last time, allowing yourself the quiet ache of what could’ve been. You would never speak to him again, not like before. That part of your life was over.

Finn was your future now. And while it hurt to admit, deep down, you knew it was for the best.

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[spoilerssweetie13]

Hi, I've been meaning to reply to this. I just haven’t found the time to sit down and write a whole essay, hehehe. I'll start off by saying I definitely get where you're coming from, but here's just my two cents on everything:

The Doctor has, at one point, been President of Gallifrey, and given how Time Lords are, I don't they would allow someone "less clever" than them to lead them. The Timeless Child isn't supposed to make the Doctor special. If anything, it makes them a victim of abuse dissected like lab rat by their own adoptive mother over who knows how lifetimes. The Timeless Child does not negate their choices. Instead, I feel adds to them. They are alien even to this universe but chose to save it time and time again. In a sense, if they hadn't been kidnapped the DW universe would have died a billion times over, isn't that beautifully fucked up in its own way?

Davros once asked Twelfth why he ran from Gallifrey, and under this new context of the Timeless Child, you realize, "Oh shit that's what he was running from." That's what they are all always running from. I also saw another post on here that said that the Time Lords "granted" Eleventh more regenerations to cover their own tracks, and that makes so much sense. The Time Lords don't do anything unless it benefits them. When you see the whole show under the lens of Timeless Child, all the pieces start to fall into place. It's definitely a different viewing experience. It becomes so much darker, and I think that's part of the appeal of the Timeless Child for me.

The Doctor did always feel like the adopted child of the family; Timeless Child just confirms it. But they will always be the Doctor, because the Doctor is the name that they chose for themselves, their empathy and and love for humanity has nothing to do with where they come from, and that was true even when we thought they were from Gallifrey. It's all about their choices, and they will always choose to be the Doctor sorting out fair play throughout the universe, no matter their origins.

Ever since I watched the Fugitive Doctor episode, every time someone new would pop up on screen, I would go is he the Doctor, is she the Doctor, [ominously whispers] are we all the Doctor? (Joking, but seriously, the paranoia did set in!) To me, Timeless Child isn't taking the Everyman-ness or Everywoman-ness away but adds to it by saying literally anyone and everyone can be the Doctor. You don't have to be born on Gallifrey to be the Doctor; hell, you don't even have to be from the DW universe, so we could all very well be the Doctor, lol.

Extended lore says Time Lords used Looms to procreate so I don't know why the Doctor wouldn't know who the Susan's parents are, unless it hasn't happened yet because of timey-wimey stuff [shrugs] probably will never happen now because of the retcon. :( Marrying a werewolf is crazy but it's the Doctor, so I'm not even surprised.

It's funny that I don't like the Bi-genration for the same reason that you do like it. That it's a one-off and will never happen again. To me, it feels too convenient compared to the Timeless Child. Love it, hate it, want to purge it from your memory, the Timeless Child will always be a part of the show's history, it's essentially a infinite money glitch, a way for the show to go on forever. See, what really gets me is that Fourteenth will just drop dead at one point, and Fifteenth will just get all his memories and be like, "I'm healed now." That feels too convenient. To me, that's messing with the established rules just as much as Timeless Child. If we're talking about closure Fourteenth and Donna should've gone back to The Library and Fourteenth should've used his "resemblance" to Tenth to his advantage to confuse the Vashta Nerada and somehow save River without time collapsing in on itself (but that's just the Doctor/River shipper in me speaking). To me, Donna just getting her memories was closure enough.

RTD said he didn't want to make a mockery of drag by putting David Tennant in Jodie's Whittaker outfit. Mind you, her outfit was specially designed so anyone can wear it. What's so feminine about trousers, a shirt and a coat? It seems to me that it was just done in bad faith.

Bigeneration is just as lore-changing as the Timeless Child. And yet no one shits on it because their precious RTD wrote it. If Chibnall did something like this, y'all would have your pitchforks at the ready. The double standards in this fandom, I swear. RTD is allowed to retcon Doctor Who, but heavens forbid Chibnall even try.

The Doctor is no longer even a parent because of him. David Tennant is a good actor, but I'm tired of people pretending like he's the face of Doctor Who. The whole point of the show is that the Doctor has different faces, and we should love them all—not regress backwards.

We deserved to see the Fourteenth Doctor in Thirteenth's clothes, and not for everything she is to burn up and die. The Fifteenth Doctor deserved his own regeneration scene like every other Doctor, without Fourteenth randomly sticking around because of RTD's inability to let go of the characters he wrote.

At least the Timeless Child added something more to the Doctor's story. Bigeneration took something away: the emotional impact of the Doctor's regeneration - having to say goodbye.

[circeyoru]

does fake dating Choi Jong In have other benefits? like could he just give us the test answers or will he tutor us

This is for {Love Trial}, check MASTERLIST for the work

Of course it does! So glad you asked this cause it's never (will be) covered in the story.

The general setting is that Choi Jong-In and Reader/you gave different majors in college/university but have a lot of common core subjects or just picked the same electives to be grouped together. Or you guys could be in the same one, doesn't really matter in this case.

It's not mentioned but I imagine him in some sort of business or lawyer major. Then I didn't want to restrict your major choice cause (again) there's no significance.

Anyways. Back to the benefits of the fake relationship.

First and foremost is the obvious protection against love confessions for either of you. Both of you are smart, talented, and a fine specimen, so who wouldn't want to have a chance? Think of a contractual love relationship. Since you had your past memories, you know Jong-In never saw you as anything more than a friend, and that fact carried to the current life. So you were relieved to not have serious romantic issues, at least until you were ready (until Jinwoo came along that is).

Other benefits include a guaranteed groupmate. Study buddy was a given since you two were childhood friends and you two tutor each other, even though you had your past experience and memory, you still need to hard work and study.

Now why I say guranteed groupmate. Guys, have you seen couples in college/uni? They are mostly together and people assume they would be grouped together if they were in the same course. How's that important? Grades and it's less of a headache when one is dealing with an unfamiliar person. Two people on the same page aiming for a good grade are bound to be good. (plus you get to have Jong-In do all the work, joking... or am I?)

Giving test answers… Is there a need? One, you guys could be in different courses. Two, you're smart in your own right. Then again, you could be lazy and just decide to copy cause why not?

But you gotta remember, you two are childhood friends and best friends already. The fake coupe thing is just a front against crazy crushes (and stalker *cough cough* for *cough* Jong-In). There are a lot of things you two have done together and for each other at this point. It's not like you two got into a fake relationship cause. It's because you two were close friends to begin with, that's how both of you tolerated the romantic performance you two gave to an outsider.

So under no circumstance would you develop romantic feelings for him and he wouldn't to you.

[mask131]

This is about Neil Gaiman's work - this is NOT about the rape accusations, but it is about the aftermath of them. I wanted to make a post for some times now about works you could read that were similar to Gaiman's works if you wanted to go see something akin to his fictional world without directly supporting him. Which would have been a VERY easy post since Gaiman kept listing everywhere the works that influenced directly or indirectly his own novels and creations. But I realized other people were already doing this, so I just thought "Heh, let's not bother with this".

And then I randomly stumbled upon this post which is trending on Tumblr. And this post got me a little mad. Because while I do agree that several of the facts in there should be more well-known and more talked about... I also think this post is quite unfair in its depiction of how Gaiman acted towards his inspirations.

People are currently screaming that Neil Gaiman plagiarized stuff by "taking huge inspiration from things and not crediting people". Except... he did credit people. It's just that his fans never bothered to go look for what inspired him. I was there back in the old days - so I saw exactly how it went. Don't start telling me Neil Gaiman purposefully stayed "silent" about the works that inspired him - I clearly saw how people were just apathetic. Myself when I compiled lists and made posts about all the works that preceeded Neil Gaiman or that he explained were his inspirations for things, people didn't bother and had no interest... but when I made a list of Gaiman's work suddenly everybody reblogged. Whether Gaiman plagiarized or not is not the thing I want to talk about today - but I want to HEAVILY criticize the way people are saying "Neil Gaiman never said he took X from X" when in fact, he did, and people were just too lazy to do their research. (Or, if you take the "Gaiman is a villain " angle, Gaiman counted on the fact people would not bother to read the original books and he won his bet!)

I am deeply sorry for this rant but it is a little trigger for me, since I have been studying and exploring the "chain" of inspirations and rewritings throughout literature and the fantasy genre (half for university work, half for personal hobby), and I have seen people literaly ignore all the bibliographies given to them under titles like "If you want to read more of the sort". [For example the original post talks about how Martin was very honest about how he took inspiration from Druon's book series. Fair. But nobody is talking about how he indeed kind of "plagiarized" Memory, Sorrow and Thorn. A lot of people don't know about this series, despite said series having literaly almost all of ASoIaF's supernatural - in fact, the reason Martin seems to be under-using his own supernatural creations, like the White Walkers, is precisely because they don't come from his mind and they are just a copy of Williams' Norns and he seems to not really know what to do with them. But that's a talk for another day.]

EDIT: I realized the post got very long, so all my personal objections and my argumentative points against the post I linked above will be under a cut. And if you want a conclusion to my long rant below the cut, it is this one: You can shit all you want about Gaiman, but at least get your facts right. It is not because someone turns out to be a bad person that you must feel the need to blast cultural misinformation. Heck, I will directly compare it to how the entire Internet wished and wanted Rowling to have "plagiarized" Gaiman's Books of Magic, because of their similarities, only for Gaiman himself to point out, no, it was not plagiarism, it was just a set of similarities and coincidences due to both works coming from a same British culture with a specific background in children literature and fantasy works. It just happened that people didn't know anything outside of Harry Potter and Gaiman's works and so assumed it was the only two pieces of a much vaster puzzle...

Yes, Neil Gaiman is very derivative. Yes he is very imitative. But he never hid it? He always said he was, he always pointed out the works that influenced him, he always listed the stuff that he based his own works upon - down to sometimes helping these works come out of obscurity when they were too forgotten (like the Lud-in-mist novel?). People are doing a "surprised Pikachu face" today but... he never hid his derivatiness. In fact it was a certain part of the "charm" people found in his work back in the days. He never hid anything, it's just that a lot of people didn't want to see it or didn't care about it...

Gaiman posted an entire page on his blog for American Gods (back in the early days of Internet, he had a blog to follow his writing process for American Gods, weeks after week, you can still find it somewhere) listing the three dozen of books that inspired him/that he took elements from/that he learned stuff from. People can accuse him of having plagiarized Zelazny's work in American Gods because of one scene - Wednesday having Shadow drive into the "Backstage", which is a rewrite of the "driving to Amber" scene from The Nine Princes of Amber. But the accusation of "plagiarism" becomes a bit muddled when you know that A) Gaiman has been screaming for years about how the main source of inspiration for American Gods were all of Zelazny's mythological works and B) He literaly dedicated American Gods to Zelazny, first page you open.

When does an homage becomes too much? When is plagiarism allowed? Is taking after public domain a bad thing? What are the moral consequences of your work overshadowing your source of inspiration? These are questions I am not wanting to answer today and this post isn't about them - plus things are even more complex when you remember Gaiman was one of the most fervent defensers and advocates of fanfiction, reacting positively to it and encouraging people to do it a lot ; as well as one of the main celebrities on Tumblr to warn people to NOT send him fanfics so that it wouldn't cause legal troubles of potential plagiarism.

Anyway, my actual angry rant is below.

I/ Tanith Lee and Sandman

The post that got me angry starts with Tanith Lee. I do agree that it is a shame Tanith Lee is not more talked about and didn't receive as much fame as she deserved. I do agree that Neil Gaiman's work was heavily inspired by Tanith Lee's writing. I do agree Gaiman's work overshadowed Lee's own (for a long time I didn't know she was the first one to do a vampiric Snow-White twist, before Gaiman's own). However I have to recuse the idea that Sandman is a rip-off of Tales from Flat-Earth.

It doesn't help that the person who made this original claim clearly doesn't know very much about either Lee's Flat-Earth or Gaiman's Sandman (with easy to debunk claims like how "Delusion" is one of Gaiman's Endless - no, the character does not exist). For example the poster rightfully compares how the top-dogs of the supernatural pantheon of Lee's Flat-Earth are the Masters of Night, Death and Delirium, wth the Master of Night's physical appearance echoing Dream of the Endless' appearance... However the comparison stops there, unlike what the poster tries to claim, because the Master of Night is a demon who rules over hatred, fear, curses and malevolence first and foremost - and is this world's equivalent of Satan/Iblis - and is not a personification of dreams, imaginations and sleep like Morpheus. Also, unlike what the OP claims, the Demon Princes are not like the Endless, "eternal entities beyond gods" - on the contrary, it is shown by book one the Demon Princes CAN be killed, and that there are gods who are a distinct species far above the Demons.

It is also incomplete to try to claim that having Dream and Death be siblings is a "proof" of Tanith Lee plagiarism... Because Gaiman is very explicit in his narrative of how Dream and Death are transpositions of the Thanatos & Hypnos/Thanatos & Morpheus twinship present in Greco-Roman mythology (Ovid's "Gates of Horn and Ivory" are literaly there in the first issues). Plus, since we do have the original manuscripts and the proposition draft Gaiman sent to DC (it is in the bonus of collected editions and in companion books), we know Gaiman originally had just three Endless in mind, Death, Dream (who was a reshape of DC's Sandman super-hero), and Destiny (who pre-existed in DC's universe), Delirium only coming far later.

That being said, I am feeling very sad for Tanith Lee through the testimony of her friend - how, again, she had trouble becoming a recognized author despite her work being very influential and frequently talked about for the fantasy genre (all the fantasy manuals and guides and encyclopedias of France list her among the authors to be read), and I do feel her distate for Neil Gaiman's work vampirizing hers is very justified. But to jump into saying Sandman is a copy-paste or a full on rip-off of Flat-Earth is unfair and very limiting. Flat-Earth was one of the inspirations of Sandman, but it doesn't own "everything" to it.

Plus, the OP also gets very angry at how Gaiman "never" talked about Tanith Lee and ... you know how I got to learn about Tanith Lee, and how I got encouraged to read her? Through Gaiman's Tumblr blog, where he regularly listed her as part of the authors that inspired him/the fantasy authors he enjoyed/the authors he encouraged others to read. I saw her appear like five different times on his Tumblr, and without him I probably wouldn't have started getting curous about her. So he did talk about her and he did present her as one of his inspirations and favorite authors... At least on Tumblr, and for several years.

II/ Coraline and Thief of Always

The comments mention Coraline and the Thief of Always as possibly being another "plagiarism" of Gaiman... I remember when Neil Gaiman was asked on his Tumblr about how similar Thief of Always and Coraline were, and he simply answered with the fact he and Barker had a similar thought process and came up with akin works though very different in the results.

You could say it is a form of copy or plagiarism (though Gaiman at least did an effort to make Coraline the almost opposite of Thief of Always in several ways). But I will have to point out that that Neil Gaiman and Clive Barker know each other, and that it has been reported, talked about and evoked a lot of times how they hanged in the same circles, with the same people, and exchanged thoughts, and talked about their mutual creations. We know Gaiman talked of the early Sandman issues when they were created with Alan Moore and Clive Barker, while Moore talked of his creation of From Hell. We also know that a part of the Sandman's universe was indirectly created by Barker - as Gaiman explained the idea for naming Desire's domain "The Threshold" came from a story Clive Barker had planned but never wrote, exploring the puns "threshold" could offer.

To my knowledge Clive Barker never claimed that Gaiman plagiarized him or stole from him with Coraline? But I might be wrong.

III/Other details

The comment about the "Lovecraft and Doyle" comparison is clearly taken out of context, because it was literaly about a story which WAS a literal Sherlock Holmes meets Cthulhu fanfiction, "A Study in Emerald". The commenter seems to think this comment applied to Gaiman's entire work? No it does not.

I don't know anything about the Lenny Henry situation, I will have to look for this.

[akallabeth-joie]

Narrative Voice in LM 1.2.X

I think it's rather interesting how a bunch of Hugo's different approaches and techniques show up back-to-back in the early parts of book 2 here. In 1.2.1, for instance, he's keeping to a third-person-omniscient perspective: he's describing the speech and actions that any observer in the room would have seen, but also peppering in details as-of-yet unknown to the characters (such as that Myriel's great work on duty will never be completed).

We also see Hugo insert himself into the narration, suggesting particular documents or persons were sources of his information, as though Hugo was researching and reconstructing the story from primary sources and testimony: there's Mlle Baptistine's letters cited as the source of 1.2.4 (which also allows Hugo to use her perspective to narrate the dinner); the reference to the prison turnkey as witness of Valjean's chaining in 1.2.6 (to show the lasting emotional impact of the scene on a witnes); in the same chapter, the narrator references "my research" to allow a comparison between Valjean and Claude Gaux. I think this conceit of Hugo-as-historic-researcher reinforces the idea that it's a realistic novel: that the characters and plots are accurate representations of real people the idea that Les Mis is an everyman (/woman/child) story that could be about any unfortunate people and thus is about all of them. Furthering that idea, I find the citation of fake sources lends credence to certain details which Hugo includes in the narrative, which likewise could have been "reconstructed" from later sources, even if not named (the "small papers and large book" detail could have come from Hugo inspecting Myriel's notes and books in an archive, Valjean's escape attempts and subsequent punishments would have been documented somewhere in the prison records). Dropping unsourced 'facts' into the narrative ("four out of five crimes in London* are based on hunger"), also subtly reinforces the idea of the story as some sort of derived historic narrative.

However, we are in the realm of fiction, and Hugo-as-omniscient-narrator also freely includes tiny details of the exact scene itself as experienced by the characters in that moment, which would not be recoverable and are unlikely to be documented: the exact identity of the woman who pointed Valjean to the bishop's house, which was unknown to him and thus not reported to the "witness" for the scenes in the bishop's house; the depiction of Jeanne's young son sleeping on his basket or hugging the cat for warmth while waiting for school (an unlikely detail for Valjean to hear about in prison, which is ostensibly the context for the end of Jeanne's story); really the whole of Valjean's early history is full of these sorts of lost details (Marie-Claude giving the children milk and the girls spilling it in their haste to drink? Who would even have that information for Hugo-the-researcher to discover?)

And then we have 1.2.8: an extended metaphor of drowning as a representation for how poverty and incarceration cut Jean Valjean off from society. Hugo gets a certain amount of (affectionate) flack for interrupting the plot of Les Mis with digressions: seemingly unrelated essays and short interludes of real-person fiction. Hugo-the-author uses them to insert his social/political/historical opinions and develop his theses for the books, as well as setting scenes for later events in the plot, calling for political action by the audience, wrestling with his own past, and boring the censors.

*Also, referencing London make this message both more universal and (I imagine) less biting to contemporary French readers. Sure, other than this one sentence Hugo's only talking about French people and crimes committed in France, but dropping in this statistic about English crime supports his "desperation causes crime" message while also drawing off the criticism of French society/law a little. This tidbit is about those guys (who you-the-reader may be annoyed with re: the whole losing the Napoleonic wars thing) over there, not more woe at home! They do it, too! It's not just you and your society. Or something.

[dulcewrites]

Are you planning on putting the modern Aemond and Amara story on AO3 as well? 

I’m guessing you mean Aemond and myrah. If I ever write something substantial enough for sure. Most of the ideas I had were pretty short tbh and easier just to keep on here

[rearranging-deck-chairs]

Hi hello I watched all of carmilla in a weekend when I was 17 because a student teacher who in retrospect I had a bit of a crush on mentioned that she knew one of the actresses. also I am pretty invested in all your recent vampire stuff because I watched iwtv in 2 days last week because your edit intrigued me

oh hiiii 🫶 thank you for indulging me. thats so cool that you watched iwtv! did it live up to the expectation?

i also watched carmilla at 17! or like, 17-19. i found it when s2 had just started and followed it to the end. did something permanent to my brain but i think it was a good thing. on rewatch now im like, i was right to like this. like it's a solid show, it's good. it has its flaws obviously but it's well written, the emotional moments still get me, i can see why i liked it and i still like it now even when it's not anymore, you know, meeting every need that baby gay me didnt even know they had

what it doesnt reaallyy do though - i dont remember if i posted abt this or if i left it in my drafts but - is explore vampirism as a concept. their subject matter is more lesbianism than vampirism. which is great! thats what they wanted to do and they did it and it's very good. but reading interview with the vampire the book rn im realising how much potential vampires have to be metaphors for like so many things and i started wondering like 'wait, did carmilla just not really engage with it or did it all go over my head'. but it just didnt really engage with it all that much. which again is fine bc that wasnt what they were doing. im glad they were more about the lesbianism than the vampirism

but there's this interesting difference in framing, because in iwtv they keep calling armand 'ancient' right? and emphasising how old he is. and he's like 500? and i was like 'wait isnt carmilla like 400?'. she isnt, shes 340, but still, thats getting there, you know? and we know quite a lot about her history, but kind of just the Big Events. when she was turned, the events of the novella, coffin of blood, silas. thats sort of what we know. but none of the long lonely slog of history day to day you know? with armand i feel like we can really feel how much time everything takes. how every one of those years is made up of single days. with carmilla i dont feel that as much. i keep kind of thinking about daniel, when louis calls him a boy in the first episode, saying "im an old man, with all the triggers that come with it"

because carmilla might look 18 (or mid twenties at this point) but she has lived all that time. shes also seen her native land be claimed by like a succession of ruling powers, right? like armand. shes been buried alive, like louis. when lestat is born, shes already 80 years old, shes lived a whole human lifetime, and the entire adult part of it shes been a vampire. shes lived through 1680-1870 being a lure. i compared her to abigail hobbs in some tags on a post, i dont know if youre familiar with hannibal the tv show, but i do also kinda keep thinking about that comparison

if youre not familiar, in the first episode of hannibal the murderer of the week is this guy garrett jacob hobbs who kills and cannibalises girls who resemble his daughter. and later on it turns out she was made to be his lure. like they'd go places and he'd sent her to the victims to make friends and maybe get them back to their home or smth. not sure if they specified all the details. but that's what carmilla did for mother. and in s2 we hear from mattie that while every couple of decades carmilla had to lure victims for the fish god, she also seemed to just enjoy humans between those times, right? like the doctor, gets lonely, gets a new companion. but we've only sort of got mattie's mocking word for it ("dont eat him, hes a poet! or her, shes got such a wonderful voice. or that one, shes just too pretty to ruin"), we don't know exactly from carmilla's point of view what she was doing or why. if mattie's talking about stuff that happened after the blood coffin, 1950-now, then i think it's a fair assumption based on what carmilla says in the s1 sock puppet show that after she'd figured out what the real situation was and what her role in it was, when she'd started trying to save girls from being sacrificed, that she mightve been doing the same trying to save people from becoming mattie's victims. it's probably more likely that she was just trying to find excuses to stop mattie from sucking someone dry rather than actually having like an aesthetic based morality. but it might be a bit of both. im still trying to figure out what her philosophy actually is, like i dont know what existentialism actually means ghkfjghkj but i will

i also found it pretty striking in the movie when shes turning back into a vampire she says like "this was supposed to be done, you know? the blood lust, the self-loathing, the sleeping tied to a chair in my own bedroom". thats what defines her vampirism, wanting blood and hating yourself for it (the third part is a joke/reference to s1 but also i think meaningful for how she sees her relationship with laura when she IS a vampire. little bit of that 'she will reject me for my monstrousness' shining through). and thats what defines vampirism for lots of vampires across the genre obviously, but i dont know, it struck me. we dont get a lot from carmilla's pov, we know a fair amount about her, but the story is always told through laura. we get laura's diaries, but just snippets here and there from carmilla, what shes thinking, how shes feeling

and i love that shes a philosopher. i love that thats how she seems to try and find something to hold onto, in a world that kind of moves around her, having been murdered, kidnapped, turned and groomed to be a lure on the cusp of adulthood, never having been properly loved (the relationship with her father wasnt good she says in s3, and her mortal mother i dont think has ever been mentioned (like laura's)). the only good relationship she seems to have had for the better part of 3 centuries seems to have been mattie, and mattie seems to love being a vampire. i can imagine carmilla just sort of going along with anything mattie wants to do just because shes so desperate for that friendship. not like, against her will necessarily really. but more like, she hasnt even had the space to develop her own will, you know? and philosophy lets you do that. philosophy gives you frameworks to understand the world and to develop your own opinions on it. and by the 21st century she seems to have developed those opinions, she has a sense of her own values, but shes also still stuck in that same situation. shes jaded and cynical in the face of laura's optimism and strong moral code a lot of the time in s1 because she feels probably pretty powerless. like she does what she can to save some girls but at the end of the day shes scared of her mother and she has nowhere else to go really, right?

i like how she grapples with that over the course of the series, in tandem with laura grappling with her black and white morality. she sort of jumps ship from her mother to laura bc theyve fallen in love, but then laura still stuck in her hero thinking refuses to see her monstrous side. not literally bc i think the biological vampirism never seemed to be a problem for laura, but morally. the having murdered. carmilla needs laura to see that and love her while seeing it bc the last girl she loved rejected her for being a vampire.

but you see her kind of swing back and forth in s2. she softens first with laura but then they break up and she leans back hard into the sarcastic cynic defense mechanisms, leans hard into "im a monster, dont expect heroism from me". but thats like, it's sort of learned helplessness i think. it's powerlessness, resignation. bc morally shes not a monster. maybe she doesnt have as strong a drive to help other people as laura does and is a little more selfishly hedonistic in that she just wants to enjoy her/their life, but she doesnt hurt people for fun, she never has. she just sort of didnt have another option for a Really long time. so she pretends she doesnt care. "im a vampire, this is what i do, this is who i am". but clearly from the way she talks about it when she turns back into one, she doesnt enjoy it

and i like how she goes even further in s3, where she starts swinging even more to the heroic side, bc she sees hope. shes like "wow if we kill my mother, i'd be free". theres hope and she becomes like a lot more active. and shes like that at the start of the movie too, a lot happier, a lot more relaxed, and then vampirism is back and bam depression gfhgkjh like shes immediately more gloomy, ashamed of her past and her self, retreats into herself

sorry i just took this as an opportunity to dump all the carmilla thoughts floating in my head on you. you didnt ask fhkghgjh consider this an open invitation to you or anyone else to come talk to me about carmilla

[theladyfae]

i think human nature/family of blood is a really good two parter in how it manages to show how full of shit ten is 🫶

[elliemarchetti]

Silencing Activities

A flash piece for @blackinnonfest's prompt 20. Sorry if it's not perfect.

Prompt: Lopsided

Words: 383

“What have you four orchestrated today to terrorize everyone?” Lily asked to their housemates, her expression so stern she frighteningly resembled her mother.

 “Why do you think we’re engaging in something of the sort, Evans?” James asked, and Marlene rolled her eyes, wondering when those two would stop teasing each other and move on to far more pleasant activities that would shut them up and grant her a moment of peace.

As if they shared the same thought, Sirius shot her a lopsided smile, grey eyes shining with mischief.

“Because that’s all you do, and it’s only your fault if we keep losing points!” Lily blurted out, storming into the corridor and mixing with the crowd of kids fleeing from lessons that were now over before her friend could even follow her.

“Looks like you need a chaperone back to the dormitory,” Sirius said, jumping down from the desk he was sitting on, taking her by surprise.

 “After five years, I think I know the way,” she retorted, trying to suppress the flattened roar of satisfaction ringing in her head. Black was a heartthrob, the kind of guy who kissed a different girl every day and climbed into anyone’s bed, not the sort of person who walks you back to the Common Room and gives you flowers on your birthday, still she fancied him and she wouldn't have minded being one of his prey.

“Humour me,” he simply replied, linking his arm with hers as if it was the most natural thing in the world. “And don’t forget to thank me later, when things start to get messy.”

“So you are up to something!” she exclaimed, but without any malice. In fact, although it bothered her to admit it and she would never do it with her best friend, she found the Marauders' shenanigans entertaining, even if they sometimes veered into the dangerous side.

“We’re always planning something, even when we sleep,” he joked. “But sometimes we forget to do it when we’re in the company of pretty girls.”

Marlene blushed hard, and although she quickly changed subject, she wasn’t surprised in the slightest when later that night she found herself hidden in a broom closet with her hands buried in familiar raven hair and her lips too busy to utter a word.

[seilon]

more and more it makes me kind of uncomfortable (for lack of a better/softer word) to call my own characters ‘ocs’. because like. they’re from a completely original universe and from completely original intertwined stories and all that. so why would i have to specify they’re original in the same way someone would when referring to a character they made for a pre-existing non-original universe/franchise/whatever? by that logic every fiction author ever would be referring to their characters as ocs rather than just. their characters. you know.

[escapismkidnappedme]

Things I've noticed with a fluctuating weight

1) girl's girls will comment on how much happier or 'brighter' you seem when you're closer to your target weight.

2) girls dealing with their own insecurities by projecting their reasonings rather than communicating will come up with the wildest (and most entertaining) reasons for why I always look different.

3) when I'm at my highest weight of the year, men look at me, but don't approach me

4) when I'm at my lowest weight of the year, men approach me (and would rather respect a fictional boyfriend than accept that I'm a lesbian.)

[gender-euphowrya]

you've heard of do it scared and do it alone here comes do it annoyed

[kroosluvr]

temptation

i lowkey have too many notes to write down properly KDFHKDS but ill write them down for Future Cele so i can read it later and be like omggg past cele ur so fun and interesting

in general, the more "color" the scenes have, the closer it is to "real life" as opposed to the muted/hushed winter blues of maruki's reality

i.e. the dark frames w akira smiling and the very last panel are when reality sinks in: first for akira, then for goro

by the way this is long winter au but sumire is still brainwashed. this also works for canonverse but i just had long winter au in mind:o

youve heard of laundry and taxes now get ready for coffee and pastries

in every panel, akira is smiling! :) and goro is very much not smiling.

intentionally his face is hidden in the last 2 pages so its unclear whether it's the "ideal reality" already (akira/goro's daydreams/wants/desires), or if goro is still fighting akira on making sure he picks the right choice

the smoke from the first page kinda leads into the 3rd page omfg COMPLETELY UNINTENTIONAL BUT REALLY COOL LMAOOO

that's nameless and belladonna in jazz jin!!! i love them. I LOVETHEM. i miss them so bad is it obvious

the cafe is loosely based off of caffe strada @ uc berkeley LMAO. my parents used to take me there a lot as a little kid so that's the first cafe i think of when i imagine one. its like right on the streetside, basically on the sidewalk, so its very bustling and people are always walking by... probably a little disconcerting to see everyones summery bright smiles despite the bitter cold and snow

in long winter AU, the Ideal Reality starts before 1/1 so yeah they get to see the new years fireworks together (or something)

also intentional that they wear the same winter outfits in the whole comic although it Probably does not take place at the same time. in maruki's snowglobe, time seems frozen in place... but akira and goro are both acutely aware that the sands are running thru QUICK

goro's frustrated expression on page 3 is one also of disdain: "don't speak FOR me you fucking imbecile" type of expression.

goro, who's never lived a normal life and therefore doesn't know much abt "normalcy" nor really actively seeks it. this 3rd semester is basically purgatory for him and he doesn't care to try and go through the motions the way akira does. akira what do YOU know about the type of "normalcy" i deserve? how do YOU know if i "deserve" that?

im thinking that this is a naive akira who is mostly set on taking the deal because he feels hopeless... seeing all his friends with good happy lives while goro and himself are alive and miserable and shouldering the weight of the world during the horror of long winter......

oh but if he takes the deal they could all be good and alive and happy!!!.... and goro knows this. i feel like in any other universe (i.e. akira is 100% certain on not taking the deal and goro knows this) then goro would be happy and carefree to do these little indulgences for himself and akira's sake, to just enjoy the snowglobe world while it exists.

but this goro is discontent. he sees how akira is enjoying the snowglobe and knows maruki is depending on this. goro has to be the one to remind akira that none of this is his to keep........ in this fucked up world, routine is dangerous. becoming comfortable is dangerous. they cannot keep any of this.

on that note, goro says "i hate you" in a halfhearted sort of way (it's not true and akira knows that.) but he's trying to think of a way that he can dissuade akira from picking the wrong choice.....

and i think the thing is, goro thinks all of this, but he still falls into the rhythm of routine with akira anyway. in a way, goro feels hopeless too.

all of this is maruki's doing........ paralyzed by the inability to choose... whatever you do, you lose. goro needs to hold akira at arm's length so the stupid sentimental fool doesn't get too attached and falls into the wrong universe. akira needs to make a concentrated effort to detach himself from goro even though he wants the simplest thing in the world: just one more unremarkable day with him. it's lose-lose..........,

also i liked drawing the tentacles in the last pic the freaking blue lines on them were SO satisfying to draw

edit: also the last page: the blood flooding the panel….. the idea of the ideal world being built off of the blood and sweat and tears and bodies of the people who could have been. of those lost in the actualization, of those destroyed, of those stitched together and brought back to life. all just for a little false happiness. goro sees it but akira doesn’t, and it’s a grim sight.

[cazshmere]

Asteroid Groom (51299) and Asteroid Briede (19029) in the houses and how/where you could meet your spouse <3

materialist🔖

DISCLAIMER: This is speculative and for entertainment purposes only; it may not hold true for everyone, as there is a lot of nuance to astrology, enjoy reading and do lmk if any of these resonated with y’all :)

���� GROOM/BRIEDE IN THE 1ST HOUSE: Love at first sight kinda vibes, at a competition, somewhere where a lot of physical activity is happening. They could end up sitting very close to you or subtly brush their hands against you, could bump into you; physical contact might occur 💖

🩵 GROOM/BRIEDE IN THE 2ND HOUSE: In a perfume shop, a luxury shopping place, restaurants, a calm and relaxed environment, at the bank, a karaoke lounge, in a coffee shop, salon, parlour etc 🛍️💅🏼

🩵 GROOM/BRIEDE IN THE 3RD HOUSE: At a library, somewhere where there is a lot of paper or documents, your neighbourhood (maybe your neighbour too, lmao), a classmate maybe, your sibling’s friend, could also be a bit younger than you, maybe at a stand up comedy show 📜📰

🩵 GROOM/BRIEDE IN THE 4TH HOUSE: Parents could play a crucial role in your meeting (especially your mom), a private place, a place where you feel very comfortable and safe, maybe someone who your mom personally knows, your high school sweetheart, puppy love/first love vibes 🏠🛋️

🩵 GROOM/BRIEDE IN THE 5TH HOUSE: When you're out on vacation with your friends having a good time, going out to watch a movie (maybe in a theater), at a carnival or an exhibition, at a play. You could meet them at a park where there are a lot of children playing around or somewhere where there are a lot of kids 🎡🎢

🩵 GROOM/BRIEDE IN THE 6TH HOUSE: The gym could be a high possibility, at the grocery store, when you're shopping for fruits, vegetables, toiletries, etc. (basically when shopping for stuff you use on a daily basis), a coworker of yours maybe, someone you run into every day, at work🏋🏽‍♀️🥙

🩵 GROOM/BRIEDE IN THE 7TH HOUSE: This is honestly such a sweet placement. You will lock eyes instantly and only see this other person even if you are in a crowded room. It might feel like a movie scene too, lol. They might initiate contact, at a social gathering, at a party. Even if it's a crowded place, it could be more of a one-on-one conversation/meeting💟💒💟

🩵 GROOM/BRIEDE IN THE 8TH HOUSE: Somewhere dark and unknown, maybe you can meet them when you are lost (they could help you find your way back to wherever it is you wanted to go), or in a dark alleyway (sounds shady asf but who knows lol). They might lend money to you if you run out (for instance, you wanted to buy a coffee but you suddenly seem to be out of money so they might offer to buy it for you), at a rave, after you've gone through a heartbreak, after you've faced some sort of loss 🖤🌑🍷

🩵 GROOM/BRIEDE IN THE 9TH HOUSE: Lmao this is a bit obvious but maybe through traveling, when you are in a foreign country, at the airport, when you're on vacation in an unknown country. High possibility of them being a foreigner, maybe in university, somewhere where there is a lot of curiosity—maybe an interesting lecture/course you decided to take up—they might also be there ✈️⛰️🗺️

🩵 GROOM/BRIEDE IN THE 10TH HOUSE: Lol they could be your boss (boss x coworker romance maybe, haha), a formal setting. You can meet them through some meeting held in your workplace, somewhere where a lot of famous people are, a famous event, business partner, could be older than you, could work in the same industry, can even meet them through Linkedin lmao 💼📅🗃️

🩵 GROOM/BRIEDE IN THE 11TH HOUSE: Two words—ONLINE DATING. Very high possibility of you meeting on a dating app or maybe just social media (Insta, Facebook, Twitter, etc.). Could also meet them when you're playing some online game, haha (Among Us, Roblox, Valorant). Your friends could introduce you to them, could be your best friend. They stand out to you in an endearing way, at a social event 👯📱👯‍♀️

🩵 GROOM/BRIEDE IN THE 12TH HOUSE: Hmm, could meet when you're at a hospital, a graveyard, an asylum maybe. They could be a patient of yours (if in case you work in that industry), you could be their therapist/psychologist/psychiatrist/counselor as they could suffer from some mental disorders (just a speculation), a peaceful meeting, maybe at a meditation class. You might see them and lose sight of them too. They can be shy/stay hidden, but eventually divine intervention will occur and you two will definitely meet. There is a possibility that you could also meet at an aquarium 🐠🏥🧿

© cazshmere 2024 [All Rights Reserved]

banner credits : @cafekitsune 🩵

[ravencromwell]

Rereading Dickens Christmas Carol for the first time in a long time. And the more I reread, the more it strikes me how seamlessly a queer reading could slip within these pages. Not an especially twee reading, wherein all Scrooge's troubles start and end with grief over Jacob Marley's death. For we know that Scrooge was a "Tight-fisted hand at the grindstone, Scrooge! a squeezing, wrenching, grasping, scraping, clutching, covetous, old sinner!" And we know that he and Marley were "two kindred spirits"

And perhaps that very fact makes the similarities to queer life, unintended as they most likely were by Mr. Dickens, achingly poignant to me. Scrooge is, we're told, "secret and self-contained and solitary as an oyster." How much that resonates, for so many of us who shield our innermost selves but from a select group of friends. And we know that Scrooge and Marley were, at the very least, certainly that for one another. Scrooge is Marley's sole mourner; his sole executor and beneficiary; and even Dickens notes, "friend." How reminiscent is that of queer couples across history, estranged from their families?

Scrooge lives in a set of chambers that once belonged to Marley—clearly Dickens wanted us to believe Scrooge gave up his own dwellings after Marley's death to economize. But with only a flicker of change, those chambers become _their chambers, rented by Marley as the senior member of the couple. The place is so desolate Dickens notes "one could scarcely help fancying it must have run there when it was a young house, playing at hide-and-seek with other houses, and have forgotten the way out again." The perfect abode for two queer misers who wanted no one prying into their business.

Marley's name is still above the door of Scrooge's counting-house: a mark by which, no doubt, Dickens meant to convey Scrooge such a penny-pincher he couldn't bother to have it changed. But a thing can be both! mark of frugality to ludicrous excess and! mark of mourning. "sometimes," Dickens opines, "People new to the

business called Scrooge Scrooge, and sometimes Marley, but he answered to both names. It was all the same to him."

This is why "death of the author" matters so much, in expanding our interpretations of texts. It is vastly far from the lens Dickens would have intended. But, the idea of a ghost of queerness, so taboo in the society it could barely be glanced at sidewise in this tale that is all about the inexplicable and yet that lingers over everything becomes an astonishing lens through which to read this book. Thinking of Scrooge as a queer man, his "melancholy dinner at his usual melancholy tavern" becomes a eerie prefiguring of the hollowness of days spent by Isherwood's A Single Man. In this universe, little wonder Scrooge doubly hates mention of time with family, marriage, etc. when the precise nature of his grief is both unacknowledged and unacknowledgable.

And readings like this are vital, because the uncomfortable truth is, discrimination doesn't "discriminate between sinners and saints", to borrow a Miranda phrase. It is easy, in my liberal circles, to fight for queer people who hold "the good sorts of politics". But what about men like Michael Hess, culpable for supporting Reagan even as his contemptuous homophobia let the aids epidemic run rampant? How much harder is it to remember Michael had a partner? That he deserves empathy and compassion for being practically tarred and feathered out of the party upon his own aids diagnosis?

Expanding our imaginative universes to include queerness, not as redemptive panacea, but merely as one aspect of identity, personality, often in vicious conflict with others. Even! as we consider those stories equally worthy of being told feels vital if we're ever to truly express the complexity of what queer humanity looks like.

[reasonsforhope]

"When bloodstream infections set in, fast treatment is crucial — but it can take several days to identify the bacteria responsible. A new, rapid-diagnosis sepsis test could cut down on the wait, reducing testing time from as much as a few days to about 13 hours by cutting out a lengthy blood culturing step, researchers report July 24 [2024] in Nature.

“They are pushing the limits of rapid diagnostics for bloodstream infections,” says Pak Kin Wong, a biomedical engineer at Penn State who was not involved in the research. “They are driving toward a direction that will dramatically improve the clinical management of bloodstream infections and sepsis.”

Sepsis — an immune system overreaction to an infection — is a life-threatening condition that strikes nearly 2 million people per year in the United States, killing more than 250,000 (SN: 5/18/08). The condition can also progress to septic shock, a steep drop in blood pressure that damages the kidneys, lungs, liver and other organs. It can be caused by a broad range of different bacteria, making species identification key for personalized treatment of each patient.

In conventional sepsis testing, the blood collected from the patient must first go through a daylong blood culturing step to grow more bacteria for detection. The sample then goes through a second culture for purification before undergoing testing to find the best treatment. During the two to three days required for testing, patients are placed on broad-spectrum antibiotics — a blunt tool designed to stave off a mystery infection that’s better treated by targeted antibiotics after figuring out the specific bacteria causing the infection.

Nanoengineer Tae Hyun Kim and colleagues found a way around the initial 24-hour blood culture.

The workaround starts by injecting a blood sample with nanoparticles decorated with a peptide designed to bind to a wide range of blood-borne pathogens. Magnets then pull out the nanoparticles, and the bound pathogens come with them. Those bacteria are sent directly to the pure culture. Thanks to this binding and sorting process, the bacteria can grow faster without extraneous components in the sample, like blood cells and the previously given broad-spectrum antibiotics, says Kim, of Seoul National University in South Korea.

Cutting out the initial blood culturing step also relies on a new imaging algorithm, Kim says. To test bacteria’s susceptibility to antibiotics, both are placed in the same environment, and scientists observe if and how the antibiotics stunt the bacteria’s growth or kill them. The team’s image detection algorithm can detect subtler changes than the human eye can. So it can identify the species and antibiotic susceptibility with far fewer bacteria cells than the conventional method, thereby reducing the need for long culture times to produce larger colonies.

Though the new method shows promise, Wong says, any new test carries a risk of false negatives, missing bacteria that are actually present in the bloodstream. That in turn can lead to not treating an active infection, and “undertreatment of bloodstream infection can be fatal,” he says. “While the classical blood culture technique is extremely slow, it is very effective in avoiding false negatives.”

Following their laboratory-based experiments, Kim and colleagues tested their new method clinically, running it in parallel with conventional sepsis testing on 190 hospital patients with suspected infections. The testing obtained a 100 percent match on correct bacterial species identification, the team reports. Though more clinical tests are needed, these accuracy results are encouraging so far, Kim says.

The team is continuing to refine their design in hopes of developing a fully automated sepsis blood test that can quickly produce results, even when hospital laboratories are closed overnight. “We really wanted to commercialize this and really make it happen so that we could make impacts to the patients,” Kim says."

-via Science News, July 24, 2024