#this concept is really important to me

[oliviridian]

"She's the kind of character you see being a mess and go yep I'm gonna make that bitch my private twitter icon. the kind that's relatable in all the ways she's unsympathetic and dysfunctional. Ripe for the picking even when the source material misuses her or squanders her potential. Like so many great feminine or queer monsters in the past. Cathartic even when it's not communicated to the audience as moral or relatable.

She is a product of circumstance and of the society she was born into but her actions are still her own and still have consequences. She rapidly cycles between moods and states of being she has a tragic backstory that is specific enough to be sympathetic but broad enough to see oneself in her struggles.

...

Lucy is a sort of power fantasy though there's also a sense of empowerment in the identification with her victimhood. Not that her victimhood should be empowering per se but that there is a kind of strength and unity in being able to identify and empathize with her.

Other classic trauma bitches include: Mamimi Samejima, Heather Mason, Misato, Rei, Asuka and Shinji, Lain Iwakura, Laura Palmer, Crona, Tsumiki Mikan, Joker (2019) Saya (Saya no Uta), the entire cast of Doki Doki Literature Club and Homura Akemi"

- Hazel Smilingbroadly, Why Did We Like Elfen Lied?

[bacchuschucklefuck]

and! barbarian!fig! its her

[lokittystuckinatree]

Out of every single relationship in the Whoniverse, whatever the Doctor and the Master have going on just hits different. Like a rock. I’m sure everyone feels this way about their fave Doctor ship, but my experience is that once you go Thoschei, you cannot go back. Given the narrative symmetry, character foiling, interwoven parallels, tragically dramatic irony, frustratingly unspeakable ambiguous romance that defies traditional ship canonization in the true chaotic spirit of Doctor Who, and a unique backstory setup that allows the characters to have history that other individuals cannot match, while fate (and the format of the show) pushes them together over and over again indefinitely, without hope of lasting reconnection lest the setup break, the Doctor and Master’s codependent anti-soulmate life or death partnership arguably (narratively) cheapens every other pairing beyond comparison. Their tragedy never leaves you. (And keeps you up at night)

[crookedfivefingers]

3.13 | ᴛʜᴇ ʟᴀꜱᴛ ᴏꜰ ᴛʜᴇ ᴛɪᴍᴇ ʟᴏʀᴅꜱ

link to the post I accidentally wound up prattling endlessly about in the tags 💀

[torturingpeople]

i've been thinking about how irrigo and violant work recently. so of course i had to make diagrams about it

i don't think the plaque is like a literal tangible thing like it is on your tooth or in your blood vessels, but it's more of a residue that either snaps the synapses immediately and makes it impossible to reconnect the memory or builds up over time on the synapse and makes it harder to access a memory

"with resistance" in this case refers to someone who uses or has been exposed to irrigo frequently over an extended period of time. it works in the same way as drug/antibiotic resistance does in the sense that your synapses grow more resilient to the effects of the plaque and don't just immediately break. think of it like going from dental floss to rope

i also think violant can provide resistance too - in this way it would more likely cancel out the effects of the plaque and it's like placing a casing over your synapse, but at the same time now you have both a violant casing (with violant being impossible to erase so the casing is there basically forever whether it's effective or not) and irrigo plaque on your synapses so it's not something you can do repeatedly without eventually damaging the synapse and doing something fucked up to your memory

there's also potential for the buildup of irrigo and violant causing toxic shock in the brain in the same way foreign objects do - it's only in a long-term sense and if left unchecked the body will start attacking itself and engaging an immune response to remove the buildup, which will in turn inevitably damage, weaken or break the synapse entirely

the way to treat violant+irrigo buildup is with exposure to apocyan. in essence this has the ability to remove the plaque buildup and the casing, essentially breaking it off your synapses, and can help to heal any damage caused by an immune response or the synapse being freed from the casing and plaque. in this it would return the neuron to its natural, unaffected state, and the pathway would neither have the benefits or drawbacks of using violant or irrigo

[trebuchet151]

"I had to know if I imagined things. And then I found your arrest records, you were just a kid…but the picture matched."

"Who...whose records did you find?"

Wanted to fill out a more detailed stat template and got carried away. The discord had a fun mugshot drawing prompt and it inspired me

[suspiciouslackofclowns]

Thinking of a modern frat Harringroveson au with chubby!Billy, because he’s my favorite, and a scenario that’s similar to that one tumblr(?) post about the girl who lost her keys at a frat party, if anyone knows what I’m talking about.

Specifically the part where she wanders around the house looking the morning after, and no one is particularly helpful until she runs into a guy who sends a text to the group chat with a description of the keys, and suddenly like twenty of them spring into action like soldiers and find her keys in less than a minute?

It’s peak boys will be boys and I love it so much.

So I’m thinking about Billy, Eddie, and Steve being in a frat. Particularly one of the larger ones, so the house is roomy and kind of daunting when first stepping into the foyer.

Steve is taking an exam and he, very miserably, let it be known that he would be gone for most of the afternoon, seeing as his next couple classes were nearly back to back after his test. So, he’s out of the house all day, and Eddie takes the opportunity to have a scary movie marathon with Billy.

Because they might as well do something other than sit around and wait for him to come home, and why not watch something creepy? Steve hates scary movies, so it only makes sense.

The house isn’t buzzing with activity at two in the afternoon on a weekday, so the couple settle into the living room. Have some popcorn, get comfy on the sofa, light a fall-scented candle to match the cooling temperature outside, and it’s perfect.

Until Tommy (I’m picking on him this time, sorry) meanders in about halfway through The Fly.

Maybe it’s a running bit in the house, something born of affection, that it’s acceptable to poke fun at Billy for his size. He’s one of the bigger guys, in every sense, and he gets easily flustered, so he’s teased a lot. They chant his name when he does keg chugs at parties, and they even call him The Tank.

Partly because he can put a lot away, and partly because he’ll do some serious damage if he decides to throw down.

Maybe Tommy takes the joke too far. Instead of giving Billy a pat on the back and calling him big guy, be calls him lardass. Maybe he comments a little too much on Billy’s eating habits, trying to get some kind of rise out of him.

While Billy used to get pissed, used to get in his face and promise to kick his ass before someone intervened, he just gets… uncomfortable now. Usually whenever Tommy enters a room, before he even opens his mouth.

Like right now.

Eddie has his arm around Billy’s shoulders, cradling him against his side, fingers tip-tapping against the blond’s bicep as he noses a kiss into his hair.

“This sweater’s real cute on you,” he murmurs. Billy hums appreciatively, and Eddie smiles as he digs his hand into the bowl of popcorn in his lap. “My cute little muncher.”

A door closes in the close distance, and suddenly Billy goes a bit rigid where he leans against Eddie’s shoulder.

Tommy pads into the room, hands on his hips as he glances between the tv and the couple sitting on the couch. Spreads an amused little smirk, eyes tracing up and down the scene.

“No Steve today?” he wonders. Eddie shakes his head and turns his focus back to the movie. “And did you just call him little?”

The freckled brunet snorts, and Eddie huffs a groan and lolls his head back.

“Can you leave, please? Crawl back into whatever hole you spawned from?”

“Hey, this is the communal living room, I can come in here if I want.” Tommy plops down in the recliner and cocks his head to the side. “You didn’t answer my question.”

Eddie lifts his head again, brows drawn together as he shifts to fish his phone out of his pocket after he pauses the movie. He rubs up and down Billy’s arm where his hand is still resting, and taps on his screen.

“I’m trying to watch a movie with my boyfriend, Hagan. He’s never seen The Fly, and we’re on kind of a schedule ‘cause we have to finish both movies before Stevie gets home,” Eddie says. “I’d say I wouldn’t mind if you watched and just kept your trap shut, but I’d really rather you just leave.”

“So you’re saying I can’t come into the living room in my own house? What would El Presidente think of that?”

Tommy clicks his tongue. Billy shifts when his eyes fix on him.

“I’m saying you make my boyfriend uncomfortable, and I’m saying you should fuck off about it.”

“I make him uncomfortable? I can hardly go anywhere in this place without seeing some kind of perverse display.”

Eddie quirks a brow.

“Perverse display?”

“Well, yeah.” Tommy crosses his arms, and it’s remarkably bratty. “You guys are always feeling him up, or sucking face, and he’s always pigging out. You don’t see how that could be disturbing?”

There’s a beat of silence. Eddie’s mouth pinches into a line when he notices the tinge of red in Billy’s expression. Notices how he leans closer, making himself smaller, and how out of character that is.

Eddie wants to rattle off an insult about how Tommy’s hair is always a mess, his room is filthy, and point out that his girlfriend has been cheating on him since the dawn of time. He wants to tell him how fragile he is if he thinks that two people sharing a kiss is obscene, or that snacking on popcorn is pigging out.

Eddie wants to say all of it so bad, but instead, he types briefly, and hits send.

Instantly, both Billy and Tommy’s phones buzz, and they both pull them out of their pockets. To Tommy’s horror, it’s a notification from the group chat. A voice note with a text attached to it.

Trying to watch a movie and this fuckhead Hagan can’t decide between being fatphobic or homophobic. I think we’ll start looking for an apartment so we can watch movies in peace.

It takes merely seconds for messages to start rolling in. Everything varying from what the fuck to hell no to questioning if the text is genuine, and if Eddie is serious about moving out. Eddie grins, and briefly hopes that Steve remembered to silence his phone before his exam.

Then, Tommy’s phone starts vibrating with a call. His eyes go wide, and he swallows before answering.

Eddie bites back on a laugh, knowing that only one person besides Steve has yet to have texted back.

“Hello?” Tommy answers.

He cringes briefly, and nods to himself as he pulls his phone away from his ear, and taps the screen.

“Am I on speaker, dipshit?” Jason asks.

“Yes.”

Tommy’s voice is suddenly timid, face hot with shame, and Eddie presses his lips together when a laugh threatens to sputter out.

Over the phone, Jason sighs.

“Hey, Bill? Edd? Can you guys hear me?”

Eddie clears his throat and exhales a calming sigh.

“Sir, yes sir.”

“Good.” There’s some static and some shuffling over the line. “You okay, Billy?”

For a moment, the blond is quiet, but he relaxes a bit when Eddie gives him a soft squeeze.

“Yeah, I’m fine,” he says.

“Cool. I’m kinda caught between classes right now or I’d deal with it myself, but I promise it’ll still be handled. I’m really sorry you guys had to put up with this, so I’ll have a couple pizzas sent to the house.”

Eddie nods in approval.

“We appreciate you, boss man,” he says.

“Alright, I’ll let you guys get back to your movie. Hagan, I hope you have street clothes on.”

Then, Jason hangs up. Things are quiet for a moment. Anticipation is thick in the air, and then there’s a new message in the group chat from El Presidente.

Hagan is excommunicado, effective immediately.

Eddie snorts when not a single text rolls through after that, but there’s the sound of movement upstairs.

“John Wick,” Billy murmurs, nodding. “Nice.”

There’s footsteps. Heavy scraping. Tommy stands up from his seat, ready to bolt upstairs to see what the commotion is, but he doesn’t make it further than the base of the stairs before the noise and voices get louder.

Then, things come flying down the steps, and Tommy barely jumps out of the way.

Armfuls of clothes, shoes, a backpack. Tommy’s eyes blow so wide Eddie thinks they might pop out of his head.

The mattress is next, with the sheets still on, and then figures come into view. Argyle and Jonathan carrying a dresser down the stairs in nothing but their socks and underwear, full drawers threatening to slide out and spill clothes everywhere. Patrick is right behind them with a nightstand in his grasp, alarm clock and bong still resting on top. More voices follow, and more and more comes tumbling down the stairs.

Nothing is moved carefully. Wooden legs are skidded across the floor, corners are banged against the guard rail and doorframe, and Tommy’s laptop is thrown like a frisbee out onto the concrete walkway.

It’s beautiful, Eddie thinks, how fast the pile of trash and other belongings accumulates, and how he counts probably fifteen heads as the guys dump everything out into the front yard. They wail at Tommy as they pass, booing and poking and some even pinching him before the guys all disperse like roaches when the light flicks on.

A few pass by the sofa, offering condolences like they’re at a funeral, and Argyle even tousles Billy’s hair before he disappears.

Tommy is left standing there, staring through the open doorway at his entire existence spread out on the ground in front of him. Eddie snorts when he sees the tiny Tommy Hagan has been removed from group notice appear in the bottom of the chat, followed by a plethora of saluting emojis.

He ropes Billy closer into his side and kisses his hair, shutting his phone off.

“You gonna be hungry for pizza?” he murmurs.

Billy tilts his head up to look at him, eyes glassy, and chews his lip.

“Mhmm,” he hums. “You think Stevie’s gonna be stressed when he checks his phone?”

He closes his eyes when Eddie squeezes him and presses a kiss to his forehead. Relaxes into the embrace when the front door shuts.

“I’ll send him a picture when the pizza gets here so he knows you’re okay.”

“Why wait ‘til the pizza gets here?” Billy muses.

He hums a laugh and turns further into Eddie, tucking his face in the crook of his neck and smoothing his hand over his chest. The brunet sighs comfortably as he feels around his lap for the remote, and traces shapes against Billy’s bicep with his free hand.

“‘Cause the only thing cuter than you in your comfy sweater is you having a snack in your comfy sweater.”

“Yeah?”

“Mhmm. Don’t want him to miss out on it.”

Eddie smiles as he presses play, and Billy chuckles into his neck.

“Me neither.”

[showtimepast2500]

i can be reborn as someone meaningful with this reincarnation apple. 🍏

[boyquiet]

i think that we need to get over the narrative that you can’t have gay villains because that’s a harmful stereotype because there’s a huge difference between “this character is gay and a bad person” and “this character was written specifically to equate being gay and being evil/depraved/degenerate”. it’s just such a narrow minded view of fiction that leads to people afraid to write queer characters as anything less than morally perfect and then to a bunch of palatable but bland and boring queer characters that are arguably worse representation than a gay villain because they are not allowed to do anything wrong. while it is important to write all types of gay characters a work isn’t instantly “problematic” because the villain is queer and the hero isn’t. I think this is also related to the idea of subtext vs text in gay media and how I see a lot of people get mad bc the homoerotic subtext isn’t made canon without considering the context of it at all—sometimes creators make artistic decisions for reasons other than that they didn’t want the gay people to kiss because they’re homophobic. well written queer subtext can be better than a canon gay couple with no personality or relevance and a queer villain can be a better queer character than a gay hero because the characters in-universe morality isn’t inherently tied to how much care they are written with and the quality of “queer representation” isn’t determined by the amount of times they kiss on screen.

[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!

[evillandscaper]

oddtober day 2: partners

[aroaceleovaldez]

emo Nico x scene Will Solace...

[artemx746]

Honestly hate how Annabeth doesn't get to keep majority of her items (ie. Daedalus' laptop)

[wizardyuri]

Going on a date with my girlfriend but her brother is there and he keeps ruining the mood by talking Abt his fursona

[crownedwille]

.

[scrapimmortal]

h-hi tgcf fandom 😳🥺