#Tom Luna

[belqva]

₊˚⊹౨ TAKE ME TO CHURCH [T.M.R.] ৎ ₊˚⊹

warnings: domestic violence, mentions of murder (it’s tom riddle are we even surprised?)

summary: At the hour of the owl, driven by anger and hurt, you left your dorm and wandered towards the Black Lake. There you encounter Tom Riddle. Your enigmatic conversation with your academic rival took an unexpected turn, leaving you with more questions than answers as you headed back to the castle.

pairing: tom riddle x ravenclaw fem!reader

word count: 2.8k

a/n: this is a draft that I didn’t plan on posting but I’m so busy atm I don’t have time to write anything else 🥲 again english is not my first language so sorry if there are any mistakes! as always my inbox is open and I’m happy to hear any criticism or requests as long as you are polite 🤍 not incredibly proud of this but I hope you enjoy it nonetheless <333

It was the hour of the owl when you left your dorm room. Strictly forbidden, yes, but as a prefect—even if off-duty that evening—you were willing to risk detention. Quite unusual for an obedient Ravenclaw like yourself, but here you were, sneaking out like a thief in the night.

“Oh, bloody hell,” you muttered, consumed by anger that clouded your thoughts. Hatred and adrenaline coursed through your veins. The Ravenclaw common room was empty; everyone else was already in bed, even those who usually stayed up late. No one would see or question your departure. It was nearly three in the morning, dark and silent.

You made your way across the empty common room and down the stairs of Ravenclaw Tower, not entirely sure where you were going, but driven by a need to escape everything. The ancient Hogwarts castle was cold and empty, its walls whispering secrets. Some might find the silence unsettling, but you found it oddly comforting. The cool evening breeze was soothing against your warm skin, though you would likely regret leaving your sweater behind later. Dressed in your usual uniform—a skirt, a white button-up, and the silver-blue tie— you moved carefully through the deserted halls, avoiding even the faintest creak.

The castle felt unimaginably vacant. Your anger had begun to ebb, replaced by a gradual calmness. The walk and fresh air had helped. As you meandered through the halls, you decided to venture outside the castle. It wasn’t entirely safe, but you had your wand and weren't afraid of the dark anymore. The stars shone brightly above, and your worries seemed to drift away.

Heading towards the Black Lake to clear your mind, you noticed a figure on the shore. Your heart raced with fear. Quickly gripping your wand, you crept closer, only to recognize the familiar figure of Tom Riddle. His jet-black hair, piercing dark eyes, and imposing stature could not be mistaken. The sight of him was both intimidating and oddly magnetic.

“Riddle,” you called, your voice cutting through the quiet. As he turned, his wand aimed at the ready, you saw his defensive stance relax.

“Y/L/N,” Tom said, his tone sharp as ever. “It is rather uncouth to approach someone unannounced.”

You had never liked him, and the feeling was mutual. What began as a snarky rivalry in your first year had escalated into a fierce competition. Each of you tried to outdo the other, pushing boundaries and limits, reveling in victories and defeats. Despite your mutual animosity, there was an undeniable, if twisted, connection between you. Tom was not like other boys; he was cold, calculating, and ruthless. Yet, he maintained a facade of the humble, ambitious scholar. He was a wolf in sheep’s clothing, and though you would never admit it, you found his intensity compelling.

“Well, that certainly wasn’t my intention, Riddle. My apologies,” you replied sarcastically.

As you approached, you noticed Tom’s irritated expression and the cigarette he had dropped. He took out another one, lit it with his wand, and took a drag before addressing you.

“I should be asking you the same thing, Y/L/N,” he said, ignoring your remark. “It’s never easy with you, is it?”

“You’re the one to talk,” you retorted. “I didn’t know you smoked.”

Tom’s unimpressed glance betrayed his indifference. “Well, I’m delighted to catch you off guard.”

The sight of him indulging in such a muggle habit was unexpected. Given his staunch pureblood beliefs, it was surprising. But you supposed it made sense, considering his upbringing in a muggle orphanage. Where he got the cigarettes from was another mystery.

His reaction to your mention of muggles was intense. “I have nothing to do with those filthy creatures. The mere idea is offensive. Muggles are obsessed with pleasure, indulgence, and waste. They are nothing but animals in disguise.”

Tom’s passionate tirade was one of his defining traits. His ability to articulate his disdain with such fervor was both disturbing and strangely admirable. You had learned to disregard his over-the-top responses, focusing instead on his more genuine moments.

“Merlin, Riddle, calm down. It was just a question,” you said, trying to remain unfazed.

“And I am just answering you,” he countered, his demeanor quickly reverting to his usual composed facade. He took another drag of his cigarette, and a heavy silence settled between you.

After a moment, he broke the quiet. “So what is an obedient Ravenclaw like yourself doing out at this hour? I thought breaking the rules wasn’t your style.” His smirk was maddening.

You wrapped your arms around yourself, the earlier anger fading, replaced by an uncomfortable shudder of vulnerability. Tom noticed the change in your demeanor and his expression grew serious. His perceptiveness was unnerving, a reminder of why you found it hard to trust him fully.

“Well, it’s stupid really. Foolish,” you admitted, defeated.

Tom raised an eyebrow, puffing smoke as you locked eyes. A silent understanding passed between you, a mutual recognition of the truth. You began to speak, revealing the turmoil behind your nighttime escapade.

You sat on the edge of your bed, struggling to focus on your assignments late into the evening.

The room was quiet except for the sound of your quill scratching parchment and the occasional rustle of pages. All your dormmates were out at a Gryffindor party celebrating their victory over Slytherin in the Quidditch match. You weren't worried about their early return; it was Friday, and with no classes the next day, they were likely to be out until afternoon, lost in firewhisky or other indulgences. They'd tried to drag you along, but you'd claimed a severe headache and a need for rest. None of them believed you, dismissing your excuses with rolled eyes and playful jabs.

As they left, one of them teased,

"Have fun trying to turn rubbish into a raccoon dog," and they all laughed.

You rolled your eyes, knowing their words were harmless. You were close friends who respected each other deeply; this was just part of your dynamic.

Just as you were settling into the quiet, a sudden interruption shattered the peace. Someone opened your dorm room door, and annoyance flared at the disruptive noise. "Jane, is that you? Because I swear on my mother's-" you began scolding as you turned, but your words faltered when you saw the dark mop of slicked-back hair. It was your boyfriend, Wiglaf Siggurdson.

"Sorry to disappoint," he chuckled, closing the door behind him with a soft click. You were relieved it wasn't one of the girls, but his presence did little to uplift your mood. You liked Wiglaf; he was smart, confident, and everything a girl could wish for. Yet, you often questioned if you truly loved him, if you loved him enough to be with him. He was the one who had asked you to be his girlfriend, and being the polite person you were, you had accepted. He came from a wealthy family, had impeccable manners, played Quidditch, and was almost perfect in every way. But you appreciated him more as a friend and couldn't bring yourself to admit it. You tried hard to convince yourself that he was the one, but your heart wouldn't comply. He was kind, brought you flowers, carried your books, walked you to classes, and treated you like the most special girl on earth. Yet, his presence stirred a surge of irritation.

"I was studying, you know, before you decided to interrupt me unannounced," you said stiffly, turning back to your work. Wiglaf stood in the middle of the room, unsure of how to proceed.

"So, no greeting? No 'Hello, my dear boyfriend who decided to ditch a party to come and see me'?" he remarked sarcastically. "And it's not like you're not always studying.

Nothing new really," he muttered under his breath. The tension in the room was palpable.

"Well, I didn't ask you to come see me," you said matter-of-factly without turning around. His frustration was evident as he moved closer to you.

"And not all of us have a rich father to secure a job at the Ministry as soon as we graduate, you know," you said, tone sharp. He sat beside you and sighed heavily. Dressed in a blue sweater and casual dress pants, he looked dejected.

"And not all of us have a rich father to secure a job at the Ministry as soon as we graduate, you know," you said, tone sharp. He sat beside you and sighed heavily. Dressed in a blue sweater and casual dress pants, he looked dejected.

"You know I didn't mean it like that," he said softly. You still refused to look at him. "Sure," you mumbled, uninterested.

"And anyway, if you marry me, you won't have to worry about things like that," he added, beaming with self-satisfaction. You froze, trying to process his words. "Excuse me?" you said, clearly offended. It wasn't unusual for women not to work after graduation, but you had made it clear that you intended to. His casual joke about it now was hurtful. You had hoped he understood you better. Even if you did marry him, you wanted to work and maintain your

independence. You didn't want to rely on anyone, especially not someone you weren't sure you truly loved.

"What's up with you?" Wiglaf groaned. "You're always so wound up and offended by everything I say.

You're always busy studying, and it's always some excuse for why you can't go or can't do this or that. You never actually want to spend time with me." His voice rose with anger. "So far, I'm the only one putting any effort into this relationship It's supposed to be a two person job.”

You frowned and buried your face in your hands. "Wiglaf, I'm not in the mood for this right now. I want to study and go to sleep. Can we please save this lecture for another time?" you said wearily.

"No!" he thundered unexpectedly.

"You don't get to do this. You don't get to treat me like some dog on a leash," he hissed. You sighed, exasperated. "Oh, come on, stop acting childish, Wiglaf," you said, rolling your eyes as you began packing up your papers. You had no intention of continuing this argument; all you wanted was to go to bed.

"I come here, ditching all my mates to spend time with my girlfriend, who doesn't even bother to greet me, and now I'm the one acting childish?" He stood up, his frustration reaching a crescendo. "Oh, please," you muttered, standing up as well. As you tried to gather your papers, they slipped from your hands as Wiglaf gripped your wrists. The sudden contact shocked you, and your eyes widened in surprise.

"I think you need to be taught a lesson," he said with a dangerous glint in his eyes. You could see the lust taking over his gaze. "Wiglaf, let go of me. I'm not in the mood right now," you said, your patience fraying.

But he was too enraged to listen. He pulled you closer, his grip painful.

"Wiglaf, let go! You're hurting me!" you protested, struggling against his hold. Instead of relenting, he pressed himself against you and forcefully kissed you, gripping your face and preventing you from breaking free. In a desperate attempt to escape, you kicked him in the shin. The contact caused him to release you, and he hunched over in pain. You stood there, stunned by your own actions while he grunted, recovering from the kick.

The room was silent except for his pained breathing.

When he regained his composure, his eyes burned with rage. "Wiglaf, I-" you started, but before you could finish, he slapped you across the face.

The force of the blow left you reeling, and you felt the sting and warmth of blood on your lips. Wiglaf stood there, stunned, as if he couldn't fully grasp what he had just done.

Your fight-or-flight response kicked in, and you pushed past him, fleeing the room. He didn't try to follow you.

After a few moments, he collapsed on the floor, staring at the floorboards as he grappled with the gravity of his actions.

As you ran through Ravenclaw Tower, a whirlwind of emotions swept through you: shock, shame, disgust, guilt, sadness, and finally, red-hot seething anger. The only thought that brought you any comfort was the imagined cold, lifeless body of Wiglaf.

How could he do this after everything you had shared? It was unfathomable.

And that's how you found yourself sitting beside Tom Riddle on the shore of the Black Lake.

...and then I just left," you finished quietly. A heavy silence followed your explanation, and Tom's features darkened. You chuckled at the irony of it all. "Well, I suppose that's what l get for thinking that I-"

You didn't get to finish your sentence as Tom interrupted you. "I'm going to kill him." He stated plainly, as if it were the most natural thing in the world. You flinched at his violent intentions.

"What?" You quaked hoarsely. He couldn't be serious... could he?

"You heard me." Tom's eyes were sharp as he took a few steps closer. But you never knew Tom Riddle to be the type to joke about things like that.

"He dared lay a hand on what's mine, and now he's going to pay for it." His tone was cold.

What's his? By day, you were nothing but an academic rival to Tom Riddle, but by night, you were suddenly his treasured possession? What a twisted mind indeed. You sighed at his words, rubbing your temples, trying to make sense of everything. "Tom, you can't just-"

"Yes, I can and I will. Because tell me, do you not think about me when he's inside of you, when you touch yourself, when you wake up in the morning? You don't love him, Y/N. We both know it. And don't try to deny it. I see right through you." His voice was dark. "And don't tell me what I can and can't do. That's not for you to decide."You were stunned, your mind blank.

Tom Riddle was a confusing enigma.

One moment he hated you, the next he was willing to kill for you. For him, it was all the same. Wiglaf would just be another addition to his growing collection of Horcruxes. It was a win-win for him: a Horcrux, the removal of an annoyance, and you-all in one plan. Three birds, one stone.

Tom's body was now facing yours, and his cold hands brushed a stray hair from your forehead. "Don't waste your mind on people like him. I don't even know why you're with that dimwit..." he muttered quietly. His fingers traced the curve of your lip and the bloody spot Wiglaf's assault had left. As he touched you, the fire in your body reignited, and the magic you only felt around him came to life.

You never felt this way around Wiglaf.

With Tom, it was like you were alive for the first time. You burned for him.

You loved him. He knew it, and you knew it. Yet both of you understood it could never work. Your ambitions were far too... different.

You let your head rest on his palm, closing your eyes for a moment, letting all your worries fade away. Dreaming about a world in which Tom was capable of loving you. Or perhaps a world in which you were able to go against your moral compass and accept his twisted mind. You kissed his palm gently and then pulled away.

"I ought to get back to the castle before someone catches us. We'll both be in trouble." You cleared your throat and spoke.

Tom simply hummed in response.

Reluctantly, you moved away and started for the castle. Before you got too far, you turned to speak softly so he could hear you. "Good night, Tom."

His gaze was on you, but he didn't reply. You continued your way back to the castle, his eyes following your retreating form. When you were far enough away that Tom was sure you couldn't hear him, he spoke softly,

"Good night, my love."

The next morning, you didn't see Wiglaf at his usual spot at the breakfast table. You approached one of his mates to inquire about his whereabouts, wondering if he was hungover or something. But as you spoke to him, a look of concern crossed his face, and he regretfully explained that Wiglaf had ended up in the hospital wing the night before. No one knew how or why.

You felt a pair of eyes on you and turned to the Slytherin table. There they were: two onyx eyes staring back at you, deep into your soul, letting you know that once again, he had emerged victorious.

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tags:

[lilithslittleworld]

Doing it with the Harry Potter characters is like (headcanons):

Girls:

Hermione Granger: mostly submissive, though she 100% sets the pace w Ron. I feel like she's really delicate and loving, a soft kind of seduction. She looks really pretty and sounds even prettier if yk what I mean ;) She most definitely looks up or over at you with doe eyes.

Luna Lovegood: Switch 100%. Like Hermione, she's angelic and so soft, her fingertips are as gentle as the breeze. She isn't too loud but still sounds so lovely. Her dominant side is very encouraging, filled with praise and pretty words towards you.

Ginny Weasley: More dominant than submissive. Ginny seems like the kind of girl that knows what she wants and gets it. Definitely into praising you but would rather see you on your knees begging. Totally into dirty talking.

Boys:

Harry Potter: total sub, what can I even say? He loves to please you and make you feel good, even if he is a little shy about it. Will listen and follow any request or demand you give. Definitely into being restrained and watching you touch yourself. Whimpers.

Ron Weasley: switch but leans more towards the submissive side. Like Harry, he loves making you feel good but isn't shy about it. (he was at first.) Into roleplay and having sex in risky situations/places. Makes a lot of noise and isn't ashamed about it (he sounds so hot).

Fred Weasley: Dominant with an exception for sometimes being submissive. Fred loves teasing you, watching you squirm in anticipation. Into anything that involves sex in risky places/situations, sensory deprivation, tying you up and making you watch him, etc. Dirty talk throughout every interaction but with a lot of praise. His more submissive side is literally submitting to you fully, like on his knees and up for anything you ask of him.

George Weasley: George is really wholesome and loving during sex. Like his brother, he's after making you feel good but from a softer approach. Loves caressing you, watching you as he makes you feel good, telling you he loves you, and especially loves it when you moan his name.

Draco Malfoy: Draco's a tricky one because he gives off both very dominant and very submissive vibes, depending on context. I say he's a switch but is never a hard dom. He's really caring, though he doesn't show it in public. Loves when you wear different sets of lingerie and when you take the upper hand. Ngl, he probably likes being humiliated a little LOL.

Tom Riddle: very passionate. very. Is more dominant than submissive and likes to be in charge of what and how much you feel. Loves when you beg, when you look up at him, watching you touch yourself but also loves when you watch him too. Into literally almost anything. However, he cares deeply for you and is loving in his own way.

(Marauder's era) Remus Lupin: switch, leaning towards more submissive. Loves pleasuring you and having you tell him what to do. Quiet and shy but in the hottest way. Loves worshipping you and telling you how much he loves you. Soft, caring, sweet and wholesome vibes.

(Marauder's era) Sirius Black: definitely dominant. Similar to Freddie, Sirius loves teasing you, having you beg for him, and watching you squirm under his touch/words. Loves head, both giving and receiving, dirty talking to you (praise mixed with humiliation) and hearing you say his name, especially when you cum.

[green-apple-juice]

Furiosa and Jack are my new RebelCaptain

[insuranced]

Tom Riddle makes his first horcrux

The quality is disgusting, but I forgot to set a proper canvas RIP. (By disgusting, I mean the fact that it is blurry, unlike the OG version in my gallery 😥)

Not the biggest fan of this.

[amethyistheart]

What if the sorting hat suggested Slytherin for Harry just because he had a part of Riddle's soul(who was a Slytherin) coz I know for a fact that the boy does not have a sliver of self preservation in him

[wizarding-world-povs]

POV:

You ignore 90% of The Cursed Child because what the bloody hell was that about.

[parlapina]

Harry Potter characters as tweets cause why not:

[slitheringghost]

Unweaving Canon Lily: Master Of Death

In this meta I wanted to explore how the text portrays Lily as Death. 

Dumbledore tells Harry, “You are the true master of death, because the true master does not seek to run away from Death. He accepts that he must die, and understands that there are far, far worse things in the living world than dying.” 

Since Harry mirrors Lily in his sacrifice (“I’ve done what my mother did”), and since Lily is the reason Harry survived the Killing Curse and Voldemort was vanquished (IMO due to deliberate planning by Lily), what goes unsaid, but what readers are meant to weave together, is that Lily too is the Master of Death, and Death itself. 

1.0 Lily as Death

If you pay close attention to the scene of the Potters’ deaths, you’ll see that it parallels the story of Death and The Three Brothers, with Lily as the main one playing Death, and I'll be weaving the two together below to illuminate this (from DH 21 and DH 17):

There were once three brothers who were traveling along a lonely, winding road at twilight And along a new and darker street he moved, and now his destination was in sight at last - In time, the brothers reached a river too deep to wade through and too dangerous to swim across. He could hear her screaming from the upper floor, trapped, but as long as she was sensible, she, at least, had nothing to fear... He climbed the steps, listening with faint amusement to her attempts to barricade herself in... - However, these brothers were learned in the magical arts, and so they simply waved their wands and made a bridge appear across the treacherous water. He forced the door open, cast aside the chair and boxes hastily piled against it with one lazy wave of his wand - They were halfway across it when they found their path blocked by a hooded figure. ...and there she stood, the child in her arms. At the sight of him, she dropped her son into the crib behind her and threw her arms wide, as if this would help, as if in shielding him from sight she hoped to be chosen instead... - “‘And Death spoke to them —’” “Sorry,” interjected Harry, “but Death spoke to them?” “Not Harry, not Harry, please not Harry!” “Stand aside, you silly girl... stand aside, now.” “Not Harry, please no, take me, kill me instead —” “This is my last warning —” “Not Harry! Please... have mercy... have mercy... Not Harry! Not Harry! Please — I’ll do anything —” “Stand aside. Stand aside, girl!” ‘Then Death stood aside and allowed the three brothers to continue on their way, and they did so, talking with wonder of the adventure they had had, and admiring Death’s gifts.

(The line about the river being too deep to wade through etc. could probably apply to some other lines too) The most notable connection is Voldemort repeatedly telling Lily to “stand aside” and the line “Death stood aside”. 

The connection to the line “Death stood aside” is reiterated in the language surrounding Voldemort, Lily, and Harry as a trio, with the three of them described as “standing” - because the three of them are Death, and are (one variation of) the three brothers who conquered Death:

He forced the door open, cast aside the chair and boxes hastily piled against it with one lazy wave of his wand... and there she stood, the child in her arms.  The child had not cried all this time: He could stand, clutching the bars of his crib, and he looked up into the intruder’s face with a kind of bright interest  And now he stood at the broken window of Bathilda’s house, immersed in memories of his greatest loss (DH)

More on these lines in my meta about Lily and Harry as Voldemort’s Mirror Of Erised. 

Additionally, Voldemort who also plays Death is described explicitly as a “hooded figure” - “He saw the small boy’s smile falter as he ran near enough to see beneath the hood of the cloak”; but Lily too is a “hooded figure” in a more subtle way, because her face covered by her long hair evokes the hood of a cloak - "the mother entered [...] her long dark-red hair falling over her face." More on this in section 4.0.

2.0 Lily’s arms are Death’s arms

Lily's arms are repeatedly emphasized, especially in the scene of her death where they open towards Voldemort, because they're Death's arms wrapping around both Harry and Voldemort - welcoming for Harry, crushing and choking and drowning for Voldemort.

But though gashes appeared in their sodden rags and their icy skin, they had no blood to spill: They walked on, unfeeling, their shrunken hands outstretched toward him, and as he backed away still farther, he felt arms enclose him from behind, thin, fleshless arms cold as death, and his feet left the ground as they lifted him and began to carry him, slowly and surely, back to the water, and he knew there would be no release, that he would be drowned (HBP 26) “Death’s got an Invisibility Cloak?” Harry interrupted again. “So he can sneak up on people,” said Ron. “Sometimes he gets bored of running at them, flapping his arms and shrieking" (DH 21) Thrashing, suffocating, he scrabbled at the strangling chain, his frozen fingers unable to loosen it, and now little lights were popping inside his head, and he was going to drown, there was nothing left, nothing he could do, and the arms that closed around his chest were surely Death’s… (DH 19) […] Harry understood at last that he was not supposed to survive. His job was to walk calmly into Death’s welcoming arms. (DH 34) - Harry saw Sirius move up the bench to make room for her. She took one look at him, seemed to recognize him from the train, folded her arms, and firmly turned her back on him. (DH 33) It was nighttime. Lily, who was wearing a dressing gown, stood with her arms folded in front of the portrait of the Fat Lady, at the entrance to Gryffindor Tower. (DH 33) there was a statue of three people: a man with untidy hair and glasses, a woman with long hair and a kind, pretty face, and a baby boy sitting in his mother’s arms. (DH 16) and there she stood, the child in her arms. At the sight of him, she dropped her son into the crib behind her and threw her arms wide, as if this would help, as if in shielding him from sight she hoped to be chosen instead… (DH 17) Flitwick’s spell hit the suit of armor behind which Snape had taken shelter: With a clatter it came to life. Snape struggled free of the crushing arms and sent it flying back toward his attackers: Harry and Luna had to dive sideways to avoid it as it smashed into the wall and shattered. When Harry looked up again, Snape was in full flight (DH 30)

The suit of armor Snape hides behind is implied as the one by the door where Harry first found the Mirror of Erised, thereby tying it to Lily, who is both Harry and Snape's Mirror of Erised (For more on this, read my meta When Lily Cast Her Life As A Shield”: Analysis of the Shield Charm).

3.0 Lily’s ties to the Deathly Hallows

Since Lily is portrayed as Death, the text gives Lily links to all three Hallows, and I'll go through them below.

3.1 The Elder Wand

The scene with Snape, Lily, and Petunia by the Cokeworth river and Lily picking up the fallen twig evokes the imagery of the river of Death and the Elder Wand:

“‘So the oldest brother, who was a combative man, asked for a wand more powerful than any in existence: a wand that must always win duels for its owner, a wand worthy of a wizard who had conquered Death! So Death crossed to an elder tree on the banks of the river, fashioned a wand from a branch that hung there, and gave it to the oldest brother .” (DH 21) He was now in a small thicket of trees. He could see a sunlit river glittering through their trunks. The shadows cast by the trees made a basin of cool green shade. Two children sat facing each other, cross-legged on the ground. [...] “...and the Ministry can punish you if you do magic outside school, you get letters.” “But I have done magic outside school!” “We’re all right. We haven’t got wands yet. They let you off when you’re a kid and you can’t help it. But once you’re eleven,” he nodded importantly, “and they start training you, then you’ve got to go careful.” There was a little silence. Lily had picked up a fallen twig and twirled it in the air, and Harry knew that she was imagining sparks trailing from it. Then she dropped the twig , leaned in toward the boy, and said, “It is real, isn’t it?" (DH 33) There was a crack: A branch over Petunia’s head had fallen. Lily screamed: The branch caught Petunia on the shoulder, and she staggered backward and burst into tears. (DH 33)

3.2 The Resurrection Stone

An important implication is that it's specifically Lily's soul that came out of the Resurrection Stone and created the versions of James, Sirius, and Remus, the way the Tom Riddle locket horcrux soul piece creates Riddle-Harry and Riddle-Hermione.

Several details point to this - Sirius and Remus look much younger, rather than how they looked when they died; presumably their shades match their appearances in 1981, because they match when Lily last saw them and how she remembers them; likewise, James is stated to look exactly how he did the day he died, because that’s how Lily remembers him.

Lily's shade’s eyes being emphasized is a huge clue that it was Lily’s soul, as eyes are windows to the soul; this idea is echoed in Tom Riddle's eyes in the locket:

Behind both of the glass windows within blinked a living eye, dark and handsome as Tom Riddle’s eyes had been before he turned them scarlet and slit-pupiled. Ron raised the sword still higher, and as he did so, Riddle’s eyes gleamed scarlet. His [Ron’s] eyes were wide, and the Riddle-Harry and the Riddle-Hermione were reflected in them, their hair swirling like flames, their eyes shining red, their voices lifted in an evil duet. Ron looked toward him, and Harry thought he saw a trace of scarlet in his eyes. (DH 19) She pushed her long hair back as she drew close to him, and her green eyes, so like his, searched his face hungrily, as though she would never be able to look at him enough. (DH 34)

Lily’s stated as looking at Harry hungrily - because Lily’s soul has been separated from Harry. 

Interestingly, Lily’s shade and Harry both speak to each other the least - Lily only says four words “You’ve been so brave”, and Harry likewise only tells her “Stay close to me”. This is because Lily's speaking through the others to Harry. The strongest evidence towards this is the echoing here:

“And what use would that be to anyone?” said Dumbledore coldly. “If you loved Lily Evans, if you truly loved her, then your way forward is clear.” [...] “You know how and why she died. Make sure it was not in vain. Help me protect Lily’s son.” (DH 33) “I didn’t want you to die,” Harry said. These words came without his volition. “Any of you. I’m sorry —” He addressed Lupin more than any of them, beseeching him. “— right after you’d had your son ... Remus, I’m sorry —” “I am sorry too,” said Lupin. “Sorry I will never know him... but he will know why I died and I hope he will understand. I was trying to make a world in which he could live a happier life.” A chilly breeze that seemed to emanate from the heart of the forest lifted the hair at Harry’s brow. (DH 34)

Lily also died right after she’d had her son, and this is Lily telling Harry that she’s sorry that she’ll never know him, and he’ll never know her, but she hopes he understands why she sacrificed herself - to vanquish Voldemort and create a better world.

The breeze lifting Harry’s hair echoes Hermione doing the same thing earlier, who also echoes the gesture of Lily pushing her hair back to look at Harry - AKA that breeze is Lily’s hand brushing Harry’s hair, perhaps kissing his forehead (for more on how Hermione performs the part of Lily, read my meta Hermione As Teacher And Connections To Lily):

She picked up the book and then walked back past him into the tent, but as she did so, she brushed the top of his head lightly with her hand. He closed his eyes at her touch […] (DH 18) “Hermione!” She stirred, then sat up quickly, pushing her hair out of her face. “What’s wrong? Harry? Are you all right?” (DH 19)

Other connections include:

1. Harry’s dream with Nagini (Voldemort's symbolic mother) going through the Gaunt ring with the Resurrection Stone and then Lily's grave - in the same chapter the Silver Doe appears, and only a chapter after he visits Lily's grave and sees the memory of her murder, and

2. the Lily from the Resurrection Stone parallels Morfin while he's wearing the Gaunt ring with the Stone in it:

Harry’s dreams were confused and disturbing: Nagini wove in and out of them, first through a gigantic, cracked ring, then through a wreath of Christmas roses. (DH 19) Lily’s smile was widest of all. She pushed her long hair back as she drew close to him, and her green eyes, so like his, searched his face hungrily, as though she would never be able to look at him enough. (DH 34) Morfin pushed the hair out of his dirty face, the better to see Riddle, and Harry saw that he wore Marvolo’s black-stoned ring on his right hand. (HBP 17)

As fandom has pointed out, the real James, Lily, Sirius, and Remus never would’ve told Harry to die and so it’s a theory that it was Death purposely luring Harry - but if you accept that the Resurrection Stone’s shades were all Lily, and that Lily is Master of Death, it would make sense that they all tell Harry to sacrifice himself, because unlike Dumbledore who can only guess, Lily knows that Harry will come back to life, as it was her magic in the first place that caused it to happen (of course, in a way it was Death, because Lily is Death, etc).

3.3 The Invisibility Cloak

Despite the Cloak belonging to James, Lily is implied as the "true owner" as the Master of Death. For more on the Cloak’s link to Lily and how it represents the Aegis which is sometimes featured as a cloak, Lily passing the Cloak onto Harry as Zeus gives Athena the aegis, see the Shield Charm meta.

An important detail regarding both the 1981 flashback and the shades from the Resurrection Stone is that Voldemort, Harry, James, Remus, and Sirius's clothes are mentioned, but what Lily was wearing is never mentioned - because we're meant to make the connection that Lily is Death and Death wears an Invisibility Cloak:

“Nice costume, mister!” He saw the small boy’s smile falter as he ran near enough to see beneath the hood of the cloak, saw the fear cloud his painted face […] Beneath the robe he fingered the handle of his wand (DH 17) he saw them quite clearly in their little sitting room, the tall black-haired man in his glasses, making puffs of colored smoke erupt from his wand for the amusement of the small black-haired boy in his blue pajamas. (DH 17) James was exactly the same height as Harry. He was wearing the clothes in which he had died, and his hair was untidy and ruffled, and his glasses were a little lopsided, like Mr. Weasley’s. Sirius was tall and handsome, and younger by far than Harry had seen him in life. He loped with an easy grace, his hands in his pockets and a grin on his face. Lupin was younger too, and much less shabby, and his hair was thicker and darker. He looked happy to be back in this familiar place, scene of so many adolescent wanderings. (DH 34)

Note that mentions of Remus's "shabbiness" throughout the series are often references to his clothes ("The stranger was wearing an extremely shabby set of wizard’s robes that had been darned in several places"), so his clothes are referenced, if obliquely.

The text also emphasizes that Voldemort can "see James and Harry clearly", as well as see the child’s face clearly, with the unsaid implication being that he can't see Lily clearly - because her face is covered by her hair that resembles a cloak, perhaps because she's wearing Death's Invisibility Cloak around her shoulders (in a metaphorical sense) or has Disillusioned herself and therefore only part of her body is visible.

Additionally, one way to read the Three Brothers story is that Lily is the third brother who met Death as an old friend - and Harry is the third brother’s son, who she passes down her Cloak to; and when the text tells us that Harry is descended from the Ignotus Peverell, the hidden meaning behind this is that he's descended from Lily.

4.0 Additional details 

“Death’s got an Invisibility Cloak?” Harry interrupted again. “So he can sneak up on people,” said Ron. “Sometimes he gets bored of running at them, flapping his arms and shrieking" (DH 21)

Death “running at” people is echoed in Voldemort’s words about Lily, and “flapping his arms and shrieking" is evoked by Lily’s arms opening wide and her screams:

“Dumbledore’s favorite solution, love, which he claimed conquered death, though love did not stop him falling from the tower and breaking like an old waxwork? Love, which did not prevent me stamping out your Mudblood mother like a cockroach, Potter — and nobody seems to love you enough to run forward this time and take my curse. So what will stop you dying now when I strike?” (DH 36) He could hear her screaming from the upper floor, trapped, but as long as she was sensible, she, at least, had nothing to fear (DH 17) At the sight of him, she dropped her son into the crib behind her and threw her arms wide (DH 17)

As for Death sneaking up on people. Lily and Voldemort mirror each other here - as Voldemort is sneaking up on the Potters, so Lily is sneaking up on him (from DH 17).

And he made less noise than the dead leaves slithering along the pavement as he drew level with the dark hedge, and stared over it A door opened and the mother entered, saying words he could not hear The gate creaked a little as he pushed it open, but James Potter did not hear.

The wording also echoes Lily’s shade in Priori Incantatem: 

She walked close to Harry, looking down at him, and she spoke in the same distant, echoing voice as the others, but quietly, so that Voldemort, his face now livid with fear as his victims prowled around him, could not hear… (GoF)

More on this in future metas.

-

The part with the small child going up to Voldemort and running away is echoed by Voldemort and Lily, with Lily taking Voldemort’s role and Voldemort playing the child:

“Nice costume, mister!” He saw the small boy’s smile falter as he ran near enough to see beneath the hood of the cloak, saw the fear cloud his painted face: Then the child turned and ran away... (DH 17)

Remember, Voldemort turns into a child after he’s vanquished, as we see in GoF, and Harry compares him to a child in DH ("Harry […] thought absurdly of a child counting in a game of hide-and-seek", "His head was still tilted to one side, like a curious child, wondering what would happen if he proceeded.")

As mentioned before, Lily’s hair covering her face is meant to evoke the hood of a cloak and echo Voldemort's face being covered by his cloak, and it’s heavily implied that Voldemort never sees Lily's face or her eyes beneath the hair (remember the Lily from the Resurrection Stone pushes her hair back to see Harry, drawing a contrast to the Lily in the 1981 memory that Voldemort sees).

This is Voldemort first smiling with amusement like that child:

He could hear her screaming from the upper floor, trapped, but as long as she was sensible, she, at least, had nothing to fear… He climbed the steps, listening with faint amusement to her attempts to barricade herself in (DH 17)

When Voldemort murders Harry, he finally sees beneath the hood of Lily’s Cloak (AKA sees Lily's eyes) through Harry, because he’s looking into Harry’s eyes, which are exactly like Lily's, as he casts the Killing Curse on him (Lily and Harry’s eyes also being the color of the Killing Curse):

He pointed the wand very carefully into the boy’s face: He wanted to see it happen, the destruction of this one, inexplicable danger. The child began to cry: It had seen that he was not James. He did not like it crying, he had never been able to stomach the small ones whining in the orphanage — “Avada Kedavra!” (DH 17)

And now Voldemort’s amusement is replaced by fear, and he runs away, exactly like that child:

And then he broke: He was nothing, nothing but pain and terror, and he must hide himself, not here in the rubble of the ruined house, where the child was trapped and screaming, but far away... far away... (DH 17)

This is what Remus tells Harry about dementors:

“If it can, the dementor will feed on you long enough to reduce you to something like itself... soulless and evil.” (PoA 10)

Similarly to that quote, Voldemort turned Lily into someone like himself - turned her into Death.

-

The description of the street getting darker in the 1981 memory echoes the description the dementor's darkness, indicating that Voldemort is walking closer to Death:

And along a new and darker street he moved, and now his destination was in sight at last, the Fidelius Charm broken (DH 17) They turned right down the narrow alleyway where Harry had first seen Sirius and which formed a shortcut between Magnolia Crescent and Wisteria Walk. It was empty and much darker than the streets it linked because there were no streetlamps. (OoTP 1) Something had happened to the night. The star-strewn indigo sky was suddenly pitch-black and lightless — the stars, the moon, the misty streetlamps at either end of the alley had vanished [...] They were surrounded by total, impenetrable, silent darkness, as though some giant hand had dropped a thick, icy mantle over the entire alleyway, blinding them. (OoTP 1)

Additionally, we never get an explanation to why Harry and Voldemort see this full memory - it’s the same memory Harry relives with the dementors, however it’s much stronger. Dementors don’t show visual memories, only emotions and voices - and the only thing stronger than dementors is Death itself, so presumably it’s actual Death that made them both view the memory.

Dementors are implied as created by Death and are “Death’s servants”. Therefore the effect of the dementors on Harry (making him relive the moment of Lily’s death and vanquishment of Voldemort, which is the same memory Voldemort and Harry both relive when they get near the site of murder) may be related to Lily’s role as Death.

5.0 Veil of Death

Lily’s role as Death might also be the reason for Harry’s attraction to the Veil of Death, with the implication that it was Lily whispering to Harry being the Veil, as Lily in the Mirror of Erised and the Veil are similarly described:

He had the strangest feeling that there was someone standing right behind the veil on the other side of the archway. Gripping his wand very tightly, he edged around the dais, but there was nobody there. All that could be seen was the other side of the tattered black veil. (OoTP) There he was, reflected in it, white and scared-looking, and there, reflected behind him, were at least ten others. Harry looked over his shoulder — but still, no one was there. Or were they all invisible, too? Was he in fact in a room full of invisible people and this mirror’s trick was that it reflected them, invisible or not? He looked in the mirror again. A woman standing right behind his reflection was smiling at him and waving. He reached out a hand and felt the air behind him. If she was really there, he’d touch her, their reflections were so close together, but he felt only air — she and the others existed only in the mirror. (PS) - He took several paces back from the dais and wrenched his eyes from the veil. (OoTP) He tore his eyes away from his mother’s face, whispered, “I’ll come back,” and hurried from the room. (PS)

This implication is also weaved in via it being specifically Luna’s mother who is emphasized regarding the Veil, as well as Lily’s letter in DH described as “a friendly little wave from behind a veil”. 

Lily's long hair covering her face in her death scene also evokes the Veil, and Lily enters the memory through a door - which echoes both the Mirror of Erised and the Veil described as an "ancient doorway".

6.0 Draught of Living Death

JKR describes characters’ clothes often, and I expanded on Lily's tie to the Invisibility Cloak, but notably the only time Lily’s clothes are explicitly mentioned in the series is when she’s wearing a dressing gown outside of Gryffindor tower at night time, about to go to sleep. This is partially an allusion to Lily being in an “enchanted sleep”, like the state of the Draught of Living Death, which includes asphodel as an ingredient, a type of lily - again tying Lily to Death. When Harry needs her, her spirit is awoken from her death-like slumber and she comes to save him.

The Draught of Living Death’s connection to Lily is further shown in HBP, where it’s the potion that wins Harry Felix Felicis, or Liquid Luck - and other than the alliteration with Liquid Luck and Lily, “luck” is constantly used to describe Lily saving Harry from the Killing Curse:

“But Harry — what if You-Know-Who’s with him?” “Well — I was lucky once, wasn’t I?” said Harry, pointing at his scar. “I might get lucky again.” (PS)

(Harry does "get lucky" again - Lily's blood magic saves him from Quirrelmort right after this.)

So. Your mother died to save you. Yes, that’s a powerful counter-charm. […] But after all, it was merely a lucky chance that saved you from me. (CoS) “Harry Potter escaped me by a lucky chance.” (GoF)

But of course, it wasn’t luck, it was Lily. (The Draught of Living Death’s modification also includes the number 7, the magically significant number of horcruxes, and the amount of times Lily says “Not Harry” in her final words). 

This ultimately threads to the scene where Harry, under the influence of Felix Felicis, uses the graphic details of Lily’s death - and Lily’s eyes - to manipulate Slughorn into getting the real horcrux memory. More on this link in future metas. 

7.0 Conclusion

To summarize, Lily is portrayed as Death itself and is linked to everything surrounding Death - to the three Deathly Hallows, Death’s arms, dementors, the Veil of Death, the Draught of Living Death.

She’s the one whose magic conquered Death and caused both Voldemort and Harry’s death and resurrections, the one who keeps reaching out from beyond death to save Harry again and again - the true Master of Death.

Thank you to @artemisia-black for helping me with this meta, and credit to slashmarks fics for some of these realizations.

Part 2 of this meta coming soon.

[softearz]

𝑁𝐼𝑁𝐸𝑇𝐸𝐸𝑁 𝐸𝐼𝐺𝐻𝑇𝑌 𝑁𝐼𝑁𝐸. — the anthology! ⋆˚ 𝜗𝜚˚⋆

— work in progress ౨ৎ return to masterlist —

— WELCOME TO NEW YORK ౨ৎ joey tribbiani. chandler's sister didn't except anything from new york, maybe a job — but not love.

— BLANK SPACE ౨ৎ billy loomis. a romance of a girl who thinks she can change him, and a boy who has no intention of doing so.

— STYLE ౨ৎ eddie munson. don't we say that opposites attract? nobody would've expect hawkins' sweetheart to find love in the freak.

— OUT OF THE WOODS ౨ৎ draco malfoy. the story of a boy who can't seem to stay away from problems ; and a girl who's tired of fixing his mistakes.

— ALL YOU HAD TO DO WAS STAY ౨ৎ tom ryder. he fucked up; he wants you back.

— SHAKE IT OFF ౨ৎ chrissy cunningham. you and your best friends decide that you don't need men anymore.

— I WISH YOU WOULD ౨ৎ steve harrington. you and steve broke up after an argument ; the thing is, neither of you want to stay away from the other.

— BAD BLOOD ౨ৎ hermione granger. academic rivals with the best two students in howgarts.

— WILDEST DREAMS ౨ৎ eliot. you think eliot is gonna leave you after sleeping with you ; he proves you otherwise.

— HOW YOU GET THE GIRL ౨ৎ eddie munson. when eddie comes knocking at his best friend's door to ask you advices about a girl he likes, you don't understand he talks about you.

— THIS LOVE ౨ৎ luna lovegood. after looking love everywhere, you realize it's been in front of you all this time.

— I KNOW PLACES ౨ৎ tom!peter parker. fame when you're a superhero is heavy ; sometimes, you just need a little break from it.

— CLEAN ౨ৎ jake peralta. getting out of a toxic relationship, an unlikely friendship forms between you and a police officer.

— WONDERLAND ౨ৎ quinn bailey. giving your trust is hard ; being betrayed once again feels too heavy.

— YOU ARE IN LOVE ౨ৎ chandler bing. two best friends (idiots) in love.

— NEW ROMANTICS ౨ৎ loki laufeyson. you should've known dating the infamous god of mischief would've turned into a betrayal ; once again.

— SLUT! ౨ৎ cassie howard. when two of the most popular girls — who also happen to be friends — start dating, the rumors go hard; good thing you don't care what people say.

— SAY DON'T GO ౨ৎ stu macher. you knew your boyfriend was ghostface; you weren't sure why you didn't say anything to the police. what you didn't knew was that he didn't plan on keeping you alive.

— NOW THAT WE DON'T TALK ౨ৎ peter quill. after your childhood best friends left to join a new group, you decide to forget him ; but it's hard when he suddenly comes back into your life.

— SUBURBAN LEGENDS ౨ৎ robin buckley. you've been cheated on by your now ex-boyfriend ; good thing you have your friend to cheer you up.

— IS IT OVER NOW? ౨ৎ scott lang. scott lang just wante to spend a nice sunday afternoon with his daughter ; he didn't expect you to knock at his door in tears after a bad breakup.

softearz © ─ all rights reserved!

[badumhax]

some important guy reblogged my old bad work, so now i have to remind after every notification. Please stop!😭 Here's new stuff

[strathshepard]

Luna Bijl by Tom Schirmacher

[giveamadeuschohisownmovie]

*Madison Hu plays the young version of Ming-Na Wen’s character

[dollsinvogue]

Shadow High Luna Madison boots » Tom Ford silver gladiator boots

[foursaints]

would you…perchance…uhhh…elaborate? on tomluna don’t get me wrong it sounds very interesting but i do have certain…reservations. i am willing to suspend my disbelief but…

what if the two strangest, loneliest children you know both sought to find acceptance and instead found each other...

tomluna is compelling to me because it is close to being one of those generic good x evil pairings (tom is "the dark lord" and luna is a dreamy silver-haired beacon of trust & strength & kindness) but it is tilted slightly slantways. it's different because they first find themselves on the mutual ground of being Outsiders. they're united in the grief of their lost mothers. they're united in the experience of spending most of their lives utterly alone...

i like that they're the two Misfits of canon. there is a very specific sort of understanding that comes from being labelled an outcast and finding someone just as strange as you. i think tom riddle could only be capable of genuinely loving someone that the rest of the world calls "loony".

luna has a tendency to see the beauty & frailty in terrifying creatures, she knows what it is like to be misunderstood— tom is like another thestral to her. he is ghostly & handsome & fascinating. he makes her learn that there is more to her (and what she is capable of) than she ever realized.

tom, a halfblood raised in a muggle orphanage who both idolizes & resents the idea of being "different", thinks this strange neglected fairytale pureblood girl-child is the closest thing he has ever seen to pure magic. he sees himself in her, when absolutely nobody else does. tom @ luna is: "how little i loved, before i loved you".

basically I think about them lots

[bisexualannaewers]

"Plein Soleil"

Luna Bijl by Tom Schirmacher for Elle France, 6 June 2024

Styling: Anne Marie Brouillet Hair: Javier Palacio Makeup: Tatsu Yamanaka

[mauveberries]

tuna (tom/luna) time travel au where luna travels back in time... accidentally. and she meets this mysterious guy named tom riddle, and he's really nice to everyone, and he's the head prefect, but something about him seems off (he's the one who has absolutely no wrackspurts floating around his head) so she goes over to investigate and speak to him while he's studying by the great lake.