#deeply personal lol

[sikapis]

self-portrait

[ouroblorbos]

some older ms paint/aggie drawings pertaining to my rp server again :3

[vaguely-concerned]

thinking about garrus 'I heard you're going to hell and back so obviously I'm coming along' vakarian in these trying times

[carnivalcarriondiscarded]

some Friendly Maintenance scribbles i forgot to post!

[the-overreactress]

I didn’t watch Gilmore Girls as it aired, and there are definitely people out there (likely some of my mutuals!) that watched it in 2000-2007. (For the record, I started watching it in syndication sometime around 2008.) But the thing is…I notice more and more that the show is intentionally misinterpreted or dissected using the standards and ideals of the 2020s. And you know, that tracks because it happens a lot with shows made during the 90s and early 00s. (Looking at you, 7th Heaven 😬)

I just…I feel like we also have to understand the cultural context for why a show like Gilmore Girls or any of the other WB teen dramas were made. The WB channel was created in the mid-1990s for several business related reasons, but one of them was to compete with teen programming made by UPN and Fox. The WB went through a lot of iterations (e.g. picking up Sister, Sister, original: the Jamie Foxx Show, Buffy, Felicity, Dawson’s Creek), but it’s primary focus at the time was making content for teenage girls. Gilmore Girls was the channel’s saving grace after a dip in viewing in 1999 until 2006 when the CW was formed with CBS.

Everyone has likely heard the story that ASP actually came up with the premise of Gilmore Girls on the spot when in a pitch meeting at WB, and it all evolved from there. The thing is…I just…other than the Connecticut setting and the WASP-y Gilmores, the references, music, and jokes of Gilmore Girls are entirely unique and pay homage to a bygone era of comedy. They’re also products of their time, both in positive ways and negative ones (i.e. any of the fatphobia jokes).

However, there’s not anything basic or cliched about having the likes of The Shins or any of the other alt/indie bands Lane, Rory, Jess, et al. listen to on a tv show in that era. In terms of music/soundtrack, Gilmore Girls is actually fucking stellar and better than the vast majority. You have to imagine Amy and the other music supervisors really knew what the fuck they were doing. (I’d kill for a biopic showing the making of Gilmore Girls from this angle!) Lorelai has peak Gen X taste, while Jess, Rory, and Lane are part of that really cool generation of Gen X/Millenial cuspers who got the best of the 80s, 90s and 00s underground.

Watching Gilmore Girls practically requires you to build up a certain level of pop cultural literacy. It’s actually why re-watches of the show are so great. You see and hear things you may not have seen or heard when you were 11, 15, 18, or even 28. I just wish this part of the show was given more attention and credit, in addition to the plots, characters, and fashion. It’s just as much part of the iconography of Gilmore Girls as the other things (if not more!)

[mother-of-houseplants-2]

fiona gallagher // the angry man in the house

[audliminal]

It's barely the end of the first day of school, and three faculty members are dead. Nobody knows much yet, but supposedly the six freshman who all managed to get detention on the very first day of school were involved and, if the rumors are to be believed, two of them actually died. In a dumb fight in the cafeteria against some animated corn. Kipperlily rolls her eyes when she hears it. They're clearly a bunch of losers who are going to either drop out or get someone killed before the year is out, but that's not really her problem, is it?

Still, just to be on the safe side, maybe their party should spend some time in the woods behind the school, and get some practice in with rats and things before they find themselves involved in a fight like those dumb detention kids did.

It's a month into the school year, and Kipperlily's starting to get the hang of things. She's feeling comfortable in a fight now, they've been killing rats and twig gremlins in the Far Haven Woods as often as they can manage, and they're getting really good at it. They even have a name now, the High 5 Heroes, chosen by Kipperlily herself, of course.

Meanwhile, Kipperlily's pretty sure the kids from detention actually killed someone, though nobody seems to be talking about it. Kipperlily doesn't care what anyone says, she's heard multiple people say they saw members of their group talking to Penelope Sam and Johnny spells, and then the day after Johnny Spells gets killed in a fucking car chase, the rich kid, who's literally the son of a pirate, has a mysterious new motorcycle? It's all far too suspicious.

It's the week after winter break, and Kipperlily is stuck in the stupid guidance councilor's office, talking about her dumb feelings. Unlike the Bad Kids (and what kind of stupid name is that), who apparently had an adventure dropped in their lap within minutes of the first school day ending, Kipperlily has been waiting months and still nothing has popped up. Plus Oisin and Ivy keep joking about changing their party name to the Rat Grinders.

It's dumb. Who would want a party name that's based on some joke? Besides, she already chose the name. So why on earth would they change it now? At least Lucy seems to agree with her about it.

It's just days after prom, and Kipperlily is sick of everything. The stupid Bad Kids apparently crashed prom and literally defeated Kalvaxus, Emperor of the Red Waste. It's honestly bullshit. A dumb group of kids that couldn't even make it through one day of school without getting one third of their party killed, and they're being credited with saving the entire continent? Kipperlily's been digging into the Bad Kids' history with every moment of her free time, trying to figure out how a bunch of dumb untrained kids managed something so huge. And she thinks she might have cracked it.

Kristen Applebees is literally Helio's Chosen One, and apparently Adaine Abernant is the new Oracle of the Elves. Kipperlily doesn't know what Fig, Fabian, or Gorgug's deals are yet, but if rumors are to be believed, then Riz Gukgak's dad was eaten by the very same Kalvaxus. Clearly the entire reason the Bad Kids are succeeding is because of their personal histories.

And to make matters worse, Oisin and Ivy managed to get the rest of the party to go along with the stupid Rat Grinders name. and Mary Ann didn't even have a reason for it! The only one who voted with her was Lucy. So now they've got a dumb name and no real adventuring prospects, and all the while, a bunch of kids who skip classes and get arrested are somehow getting perfect grades with no effort.

It's sophomore year and everything is terrible. The Rat Grinders meet every day to kill rats in the woods and it's dumb and boring, and not even a little bit difficult anymore, and she has to go to weekly councilor sessions with Jawbone, who's an ally of her rival adventuring party, which. Aguefort already clearly likes them, and even before he was resurrected they had managed to get two of their allies positions in the school. Which has to be an unfair advantage. And now Fig's dad is the vice principal rather than the lunch lad. It's really no wonder they never seem to get in trouble for skipping classes or any of their other bullshit.

At least she can use their connection with Jawbone to her advantage. Every meeting with him, she mines him for new information on the Bad Kids, who have been doing absolutely nothing so far this year.

It's sophomore year and The Rat Grinders are going to finally get their chance! Porter and Jace have approached her with the opportunity of a lifetime! Porter even said she shows a lot of promise! He doesn't even seem to take issue with his anger, and he says that he's going to help her become an amazing adventurer. All she has to do is accept this weird little rage star thing and start worshipping some dead god of rage. Kipperlily honestly isn't that much into religion, but this is the first interesting thing to happen to her all day. She's already working to convince Lucy to change her god.

It's sophomore year and even as Kipperlily is finally making progress, the Bad Kids are still showing her up. Somehow, they ended up fighting the Nightmare King himself, defeating him and somehow in the process, Kristen Applebees managed to ressurect a dead god of her own. It's bullshit and literally the only reason they manage to get back in time for the end of spring break is the direct intervention of the principal again. Plus now Fig has somehow managed to become an Archdevil and start dating Principal Aguefort's daughter. As if she wasn't already a rockstar.

It's sophomore year and Kipperlily's going to make the Rat Grinders the best adventuring party at Aguefort, even if it kills her.

It's junior year and the Bad Kids seemed determined to ruin her life. It's bullshit. They literally didn't even know who she was before this year, and they seem determined to ruin everything she's working towards. On the first day of school, they all collectively decided that Kristen was going to run for school president, seemingly as a bit, the exact second that they find out she's running. And immediately on meeting her they made fun of her fucking name for literally no reason.

It's junior year and everything's going to plan. Kristen's been expelled, and the Bad Kids are taking The Last Stand, and they've got the perfect opportunity to get rid of all the Bad Kids for good. And yet somehow Kristen fucking Applebees manages to ruin their fucking plans perfectly, spotting her out before she can succeed in killing the proctor and Buddy. Instead she has to kill Buddy and let Oisin take her away before the Bad Kids can do anything. So of course the Bad Kids get a literal perfect score on The Last Stand, and now they've all aced their classes for the whole year.

It's junior year and they're summoning a dead god. It's junior year and they find out as they're casting the spell, that the name they'd gotten was fucking wrong. It's junior year and despite all their preparations the Bad Kids have managed to get to the gymnasium with all their stupid fucking votes. It's junior year and Kipperlily is at least going to kill Riz. It's junior year and Riz literally dives into lava.

It's junior year and Kipperlily's going to kill Riz. He thinks he's hiding, but she can see him, and she's going to have to close with him, but this is her opportunity, and then she's in the air, and he's got her in a hold person spell, and she's falling, and she's in the lava, and it's so hot, and it burns, and then it's all gone.

It's junior year and Kipperlily is dead. It's junior year and she's in a world of crystal spines and lava, and in the reflections of the crystals, Kipperlily can see everything. She sees herself in those wretched meetings with jawbone, kicking at the leg of the chair, and she can see Jawbone asking her every fucking time, what can she do to become a better adventurer. As if it was ever in her control. As if she ever could have done anything. As if it wasn't all about her backstory the whole time. As if she weren't the boring daughter of two boring people. As if she had ever had a chance.

"Did you ever try?" She hears a voice ask. And then Ankarna is there. The god that she tried so hard to kill. "Did you ever really try to become a better adventurer, or did you just wait for it to happen to you?"

"I did everything I could!" Kipperlily insists. "It's unfair, why should they get all the advantages?"

"Were they really ever advantages? Or did you just decide they were?"

"You think those idiots deserved their success? All they ever do is screw around!"

"That is not what I have seen of them. Nor have I seen any better of you. Of course, you did your schoolwork and you did it to the letter, but when did you ever challenge yourself? When did you ever take a risk? When did you ever seek out a task that was more than what you felt certain you would succeed at? Would you have even have the courage to take part in Porter's plan if he had not personally trained you, ensured that you were all as powerful as possible? You insist that the Bad Kids are only successful because of their tragic history, but what of Gorgug? There is not one thing in his past that drives him and yet he has succeeded at doing things no one else has ever managed." Ankarna stares long and hard at her, and then she is gone and Kipperlily is alone again. With nothing in her death but her own thoughts to keep her company.

[griem]

ijbol idk man releasing screenshots of very polarizing things said in a private discord server between friends in a public "callout" post is #the most #tumblrific thing ive ever seen LOL.

#opinion 😱 in tags

[girlboyburger]

i'm alive btw i've just been, um,

[olasketches]

me and like two other sukuna stans making posts about how miserable he is

[sikapis]

it's easier to think about the boys i want to be than the girls i want to kiss

[herbofgraceandpeace]

Re: Flavian’s outburst to Christopher about how he (Christopher) has been an unfeeling, stuck-up brat—Flavian’s not exactly right or wrong here. I think Jones is demonstrating that Christopher is so caught up in his (very real) powerlessness to control his situation, he doesn’t realize that he DOES have the power to really and truly hurt others. He’s so caught up in his own misery that he (selfishly) forgets that others might be miserable too.

This is part of growing up! Christopher hasn’t really been taught empathy, and he hasn’t really had it modeled for him either, outside of Tacroy caring for him, but that doesn’t excuse his behavior. He’s so focused on how the people at the castle aren’t caring for his conscious wants that he entirely ignores the ways they ARE intentionally and deliberately attempting to care for him (I think at least a little classism privilege is at play in him ignoring the maids—he’s only ever known his parents’ mistreatment of servants, but presumably he should have been paying attention to how the castle folk treat the maids differently)

However, I think the adults at Chrestomanci Castle are guilty of the exact same kind of blindness and self-focus as Christopher. They HAVEN’T been meeting his needs emotionally (which has led to their inability to physically protect him either), and whatever their intentions throughout his stay, they did not try to get to know or understand Christopher as a person at his arrival, and they’re paying for that first impression. He’s a CHILD. a child from an unloving and neglectful home, who’s just been ripped away from his friends and his home at school, a child’s just DIED for the second time, and he’s a child with hopes and dreams and self-will, all of which have just been casually, thoughtlessly stripped from him. The castle folk are so focused on their OWN need of a successor for Gabriel that they treat Christopher as an object to be formed to meet their needs instead of a person with needs of his own. They’re so focused on their search for the Wraith and the hell he’s wreaking on others that they miss the very real hell they’re imposing on Christopher. All of their attempts at care are based solely on their perception of what he SHOULD need and want because! They never! Ask him! What he needs or wants!!!!!

What’s that post about how some people act like “if you don’t give me the respect I think I deserve as an authority figure, I won’t give you the respect you deserve as a person”? I think that’s basically how the otherwise decent and well-meaning adults of Chrestomanci Castle treat little Christopher Chant. Confident in their own virtue, they presume that of course this boy who doesn’t know them will trust them immediately. Confident in their work for the greater good, they are indifferent to the suffering of the individual before them. It’s clear that they care about him and his well-being, but without treating him like a real person at all, and it’s never more obvious than in the scene where Gabriel takes his spare life away. They are taking tangible, drastic steps to protect him because they are very worried on his behalf, but throughout the whole process they have no real knowledge of the horror and terror he is experiencing because they are too busy making choices for him to ask him why he’s making the choices he does (and again, Christopher doesn’t TRUST them. But they never empathize with him enough to realize that.) Another example is how Miss Rosalie and the others keep chasing Throgmorton away from Christopher when he’s laid up. They’re so focused on how uncomfortable Throgmorton makes them feel that they don’t care at all they’re isolating Christopher and depriving him of his only companionship.

But none of their bad conduct exonerates Christopher of Flavian’s charges of being rude and unfeeling towards them, even though Flavian is STILL presuming to know and understand Christopher’s motivations and choices despite being completely in the dark about them. The very personhood Christopher wants the others to acknowledge in him is the reason that Christopher is responsible for his own actions towards the castle folk.

And that’s the tea on human responsibility in The Lives of Christopher Chant. (thanks for coming to my ted talk)

[13eyond13]

love it when a character that's hard to read intuitively for you has like a dedicated fandom interpreter who can just glance at their blank face in a panel and then give you a 3k word essay on their innermost thoughts & desires & fears and neatly tie it back into the themes & whatnot as if it's the most obvious thing in the world

[sparky-is-spiders]

Jonelias Week Day 1 (Which is definitely today I swear), for the prompt "No Powers AU"

This one... maybe got away from me. This is actually only the first half of what I've written so far, and probably the first third overall! I do plan to post this to Ao3 at some point (although I suspect I'll need to do a lengthy round of editing first lmao). It's some very self-indulgent nonsense, which is a lot of what I write, but now it's getting put in the main tags of a ship during said ship's event week. So. It may also be a little bit "aromantic dude tries to figure out what having a crush is supposed to be like." Also a lot of "dude who took Principals of Accounting once pretending it knows what office work is like." Anyway, quick warning before we begin, and the rest will be under the read-more:

Stalking (played for laughs) for most of the fic.

Just. A weird amount of obsession.

Ok that should be it I think. Fic under the cut.

Jon's new boss was, quite possibly, the most boring man in the world. He wore the same outfit every day (pale dress shirt with dark unpatterned tie and gray slacks and matching suit jacket). The only personal effect in his entire office was a potted plant on the windowsill (some sort of succulent, and definitely fake). He always arrived to work exactly half an hour early and left exactly half an hour late. The only hobby he appeared to show any interest in was scheduling, which he seemed to find both deeply engaging and remarkably irritating. In fact, he was apparently so opposed to the idea of mixing his work with his personal life that he might as well not have existed beyond the walls of their office. Jon had never been more fascinated by anyone else in his entire life.

It stared with the transfer to the accounting department. Elias had met with him personally to get him acclimated to his new role. He had been blandly polite, and blandly handsome, and Jon had stopped listening to him about five minutes into their conversation. It was probably bad form, really. The software Elias was droning on and on about sounded like it was about to become a central feature of his days. He really should've been paying attention to it. Instead, he pretended to make eye contact while zeroing in on the top of Bouchard's forehead (a very useful trick, really) and became inordinately focused on the small lock of hair that had fallen across it. It was terribly distracting, and Jon had wondered how he hadn't noticed it. And then he wondered how it had come to be there. And then he had built up an entire story involving a murder, an illicit affair with the assistant director of marketing, and the potted succulent. And then he had noticed Bouchard eying him with what could've been suspicion or amusement or irritation or nothing whatsoever, and had been forced to rapidly pretend to care about their company's bad debt expense policy. Bouchard had indulged him, and had spoken with the calm authority of someone who knew what they were talking about, and had even managed to avoid being overtly condescending (a feat forever out of Jon's reach). At the end he had shaken Jon's hand (with a nice, firm grip), and had told him "I'm looking forward to working with you, I'm sure you'll make a wonderful member of our team." Jon had left that meeting with a mind shrouded in a fog of boredom and a faint sensation of warmth which he decided was best attributed to curiosity and left otherwise unexamined. Over the next few weeks, Jon had tried to subtly inquire into Bouchard's life. At the time, he had been naively under the impression that surely he must have let slip something about his life; some odd quirk or funny story or harmless bit of information which could justify Jon's blooming curiosity. Unfortunately; "He lives in Chelsea, I'm pretty sure?" (Sasha) "He's currently in a meeting. Honestly Jon, you'll be better off just sending an email. Now can I please get back to work?" (Rosie, probably lying about the meeting) "He actually lives here in the office. Set up a cozy little home away from home in one of the storage closets and sneaks out at night to raid the canteen. And he's having an affair with the assistant director of marketing." (Tim, definitely lying (but maybe a mind reader? Also, full of brilliant ideas for places Jon could maybe set up a cot whenever he needs to stay overnight)) Clearly, Jon would have to take matters into his own hands if he wanted answers. That was fine. It could be his own private little research project.

Jon liked to think that the entire thing had actually been quite reasonable, and that he had acted within the bounds of their pre-established relationship as employee and supervisor. Surely any rational person had to realize that nobody could possibly be that uninteresting. Anyone would be curious as to what dark secrets Bouchard his behind his well-tailored suits and polite, professional demeanor. … perhaps most rational persons would not meticulously record the movements, behavior, and daily appearance of their colleague in a discreet notebook (with annotations, color-coding, and graphs where appropriate), but Jon had always prided himself on his dedication to research and understanding. So far Jon had collected frustratingly little data. If Bouchard was hiding anything, it wasn't apparent from his schedule (see pages 8-13, figure 2.b), his eating habits (see page 22), or his lone plant (see page five, figure 1.c). His breaks did seem specially timed to avoid other people (and he appeared not to engage in many social behaviors generally), but he never acted irritated or otherwise unhappy to encounter one of his subordinates, so Jon wasn't entirely sure if it was deliberate avoidance or simple coincidence. Really, the only truly odd thing about him was his inexplicable interest in Jon. That very morning, for example, Bouchard had stopped by his cubicle for a fifteen minute discussion on the upcoming Annual Team Luncheon, an event Jon had never attended before (due to an annual migraine which coincidentally always happened to occur on the exact date of the luncheon), which Jon did not plan to attend, and which honestly sounded like some sort of violation of the Geneva Convention. The topic itself was not especially odd (small talk was an archaic tradition which had stubbornly clung on in every workplace Jon had ever set foot in), but Bouchard's low propensity for inter-office socialization combined with the fact that he had both chosen Jon specifically as his conversational partner was… highly suspicious. Most people who encountered Jon inevitably concluded that he was more effort than he was worth (an attitude Jon mostly appreciated).

And of course, there had also been their interaction two days ago, when Elias had paused briefly to inquire as to whether Jon would be staying late, and what he was working on, and if he might perhaps consider heading home soon because there was only so much overtime they could pay him. Or on Friday, when he had managed to hold two separate conversations with Jon where very little was said. Honestly, Jon somewhat suspected that Elias had spoken to him more in the past few weeks than he had spoken to any of their colleagues for the entire time Jon had been there to observe him. Most of Jon's notes were now dedicated to their interactions. From his cot in the unused storage room (which was indeed a good place to stay overnight, thank you Tim), he could jot down everything he recalled about their interaction; it had begun at 8:32 and had concluded at 8:47; the weather was warm and slightly humid, although the office interior remained at a comfortable 21 °C. Bouchard's shirt had been a nice, cool gray, which complemented the silver of his eyes. Jon (who had been busy digging for his favorite pen (the ink was a lovely deep green color, and it was usually kept on the left side of the top desk drawer, and Jon had no idea where else it could have possibly gone)) had settled on "irritation" as his tone, which Bouchard either had not noticed or had not cared enough to acknowledge. He had easily dominated the conversation, and Jon could admit in the sanctity of his research journal that his voice had been soothing enough to cool away some of Jon's annoyance. He wrote his conclusion: Subject behaved near-identically in tone, posture, body language, and apparent mood as he has in all previous communications. Subject displayed no strong thoughts or opinions on subject of discussion nor conversational partner. Interaction was pleasant but slightly dull, no new information discovered. It was almost exactly the same as every previous conclusion. Jon had to admit, so many months with so little progress was… discouraging. He shifted on the narrow mattress and winced when his movements aggravated his backache (which was surely unrelated to his frequent occupancy of the cot). It was becoming more and more apparent that the only possible solution was to do some actual, direct investigation. His first idea (break into Bouchard's office) seemed a tad far (also, he didn't know how to pick locks). His second idea (follow him home) seemed a stretch further than the previous one, and was perhaps best saved as a last resort. His third idea (something something computers? (perhaps "idea" was a bit generous)) would almost certainly require Sasha, who would have questions Jon couldn't answer. He flipped idly through his notes, half-skimming, half-thinking. It was only when his gaze landed on figure 2.b, Weekly Schedule of E. Bouchard, that he actually came up with something reasonable. Something actionable.

[blujayonthewing]

[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!