#i love developing doctor trauma!!!!!!!!

[vi-138]

[ahalliance]

i feel like ten and martha jumped immediately to that best friend stage where you’d trust them with your life and your ugliest and most vulnerable moments without actually developing a relationship that would naturally amount to that first . like that first bit for most friendships came after lmaooo

[flaggermuser]

When You Loved Me

1,209 words || Fluff, Spoilers for Season 4 Episode 4, Hurt/Comfort, GN Reader, Doctor Reader, Happy Ending, Childhood Trauma ||

Inspired by the idea that at least one doctor would have formed an attachment.

Thank you to @bisexualhomelander for being my beta

They're nearly all dead, there's just one loose end that Homelander needs to tie up.

So he stands outside the unassuming house, ready to cross the final name off his list, which he found in an old abandoned file documenting his ‘development’.

It was a stroke of luck that he found you - it seemed as if Vogelbaum scrubbed you from all official records.

Determined to finish what he's started, he knocks on your door and waits impatiently, ready to strike you down where you stand.

“I’m coming!”

He freezes, his entire body tensing up as your voice unlocks memories from his time in the lab, ones buried deep somewhere at the back of his mind.

A frightened and hurt little boy being held, being comforted after the incinerator and the other horrible forms of torture he was subjected to.

“Shhh, it's okay, you're okay. I'm here. Shall we read another story?”

The door slowly opens and there you are. 

Now that he's seen your face, the memories are more vivid. There’s still that kindness in your eyes, the one he saw every night before he went to sleep. 

At least, for a few months before you disappeared.

“Hello, John.” Your smile is still as warm as he remembers. “My, how you’ve grown. Come in, come in!”

With trepidation, he slowly enters, unsure of what he’ll find. It’s homely, filled with curiosities and everything he’s ever associated with a true American home. As he follows you into your living room, he notices some of the pictures on the wall with you and your former colleagues at Vought, some of whom he’s already killed.

“Would you like something to drink?”

“A glass of milk would be nice,” he replies, trying his best to smile while conflicting thoughts swirl in his mind.

He was so convinced that you were like the others that had you not spoken, he would have killed you the moment you opened the door.

“Well take a seat, I’ll be right back.”

He takes a seat on your couch, hands in his lap, looking around the room again. That’s when he notices the mantelpiece, covered in photos and newspaper clippings, all in ornate frames.

Not of your family - of him. They’re all of him.

Taking pride of place in the middle of the mantelpiece is a picture from several years ago.

“Don't worry John, it's just a camera. All I'm going to do is take a picture of just the two of us. I promise it won't hurt.”

He's sat on your lap, your arms around him, holding him tightly, protectively, a smile on your face.

He’s smiling too. He’s happy. He’s with you.

They took you from me.

“Here we go,” your return snaps him back to reality, his eyes softening as he notices the glass of milk in your hand and a plate of cookies in your other, settling it down on the coffee table in front of him.

It’s such a sweet gesture.

You take a seat in a nearby armchair, “It’s so wonderful to see you again.”

After all these years, you’re still this beacon of absolute kindness.

“Do I call you John or Homelander?”

“John.”

How did I forget how lovingly you said my name? How did I forget you?

“I’m so proud of you, you’ve done so well. And look at you, you’re The Homelander! Leader of the Seven!”

His lower lip quivers, trying to keep himself together but it’s proving harder. Your praise comes from a place of pure love, something he’s never experienced or at least, he can’t remember experiencing.

“I see you’ve noticed the mantel. I know I must seem mad but I’ve been following your progress.”

You cared about me, you care about me, it’s all genuine.

“You were so young when I last saw you, with that lovely little smile.”

You reach out to take his hand but he pulls away, only so he can take off his glove. It looks so small in his, he knows if he squeezes just a little, all your bones would be crushed to dust.

But he won't.

“The things we did. Oh John, I’m sorry, I’m so sorry that I didn’t do anything to save you. I should've stood up to Vogelbaum, I should've protected you."

Saved him, protected him - the regret is written all over your face.

They regretted their actions too, only after he reminded them. Then they apologised but it was too late for them, maybe it’s still too late for you. 

He squeezes your hand, trying to comfort you. 

“You know, I think about you every day. I wanted to reach out but I figured Vogelbaum would have any attempt at contact blocked, especially from me. All because I chose to be human.”

Human. They were human too and they tortured me.

It’s clear that is a sore subject for you, nowhere near as painful for him but the fact it makes you sad somehow makes him feel better. It shows that you cared.

“They fired me for ‘interfering with the experiment’ but how could I not?! You were scared, you were crying and they left you all alone in that horrid room.”

The bad room.

“I couldn’t just leave you there to cry yourself to sleep. So I volunteered to take the night shift. Do you remember… remember the first time?”

His jaw tightens, desperately searching his mind for even the tiniest hint of a recollection yet all of the torment he was subjected to has buried everything deeper. 

“You were terrified that I was going to hurt you, your eyes glowed red and you trembled. I knew you didn’t want to hurt me but you would if you had to.”

You understood.

“It took you a few minutes to realise I wouldn’t hurt you - I think it was the books under my arm that convinced you I wasn’t a threat.”

A single flash - “Would you like me to read you a story?”

“I sat down on your bed, you sat on my lap and we read story, after story, after story. Until you didn’t want me to read anymore, you just wanted me to hold you. So I did exactly that.”

He desperately wants to remember, he needs to remember. 

“Then Vogelbaum found out, I must have forgotten to turn the cameras off and I was removed from the project. I should’ve fought for you, I should’ve marched right back in there and demanded to take you. But I didn’t.”

But you’re here now. They’re all dead but you’re still here.

“I forgive you,” it slips out of his mouth, however, this time it’s heartfelt. He means this without malice.

You’re the parent he’d always wanted, living in a house he always dreamed of, serving him milk and cookies like he’s still that young boy you cared about.

Maybe it wasn’t too late, maybe there could be something here, born from the ashes of your past sin and his trauma.

Sniffling, you wipe away your tears, tightening your grip on his hand. When the smile returns, it’s affectionate and all for him.

“I want you to know, John. I need you to know, that you’ll always have a place here and in my heart."

[theking-mustdie]

if there’s one aspect i could criticize about the writing of teen wolf it’s the in depth backstories of each character only to never talk about it again or develop it any further.

liam’s ied and past school? only used as a prop to further the plot and create conflict (angry man go punch!)

isaac’s abuse and claustrophobia? only mentioned/showed how it effects him one time outside flashbacks (motel california)

theo’s growing up and manipulation with the dread doctors? never mentioned, only lightly brushed over in incoherent flashbacks (yes it shows him being guilty for taking tara’s heart, but not the dread doctors effect on him and torture for him to get where he was)

stiles’ nogitsune trauma? only brought up as a joke after the fact (“i once had a demon living in my head LOL”)

derek hale’s past with grooming by kate? only used to show they know each other, not why what she did was wrong or harmful (doesn’t show the harmful nature of grooming and how derek’s trust would be forever altered because of kate’s abuse of his)

malia living like a coyote for the first ?17? years of her life because she “killed” her own family? “omg you can’t take her anywhere! she likes to eat deer🤣🤣”

allison’s mom killing herself cause she’d rather be anything but a werewolf? mentioned maybe a couple times afterwords

it seems as though they attempt to make the characters deep and thought-out but toss aside the trauma they have given them in order to further the new villian of the week and constant conflict. sometimes i wish that the characters made decisions in conjunction with their prior trauma or showed symptoms of how these events effected them because it’s no secret that they would. i understand that it’s a lot to ask for a super precise and detailed description of how every character is feeling, but with 24 episodes a season, tossing in a couple reflective scenes couldn’t have hurt. i fear that their constant need to one-up their villains took away from the personality and characterization of the show as it kept running.

(this is why i love this fandom so much, because yall do! thank you to the writers who write realistic ptsd or lingering effects of major events)

ok i’m done now thank you @thiamsxbitch for inspiring this rant

[tentoohasamortgage]

i'm sorry but every person of the male species i have ever met who 'likes doctor who' does not understand it. they don't get the trauma. they don't understand how important the season 1-4 progression is in terms of the doctor's own character development. they cannot process how complicated the doctor's friendship was with martha or donna's insecurities, and how deeply they shaped her run on the show. they don't get rose tyler. they don't think the doctor loved her. men will say 'yeah haha rose liked the doctor'....... and that's it??? sir did you not watch the impossible planet or satan's pit?? did you skip when the doctor literally said she's his religion? did your ears stop working when he told martha "we were together" or when he told donna that rose was his family???? i'm sorry but season 1-4 doctor who is for the girls and the gays only. men ruin everything then make a 2 hour youtube commentary video on why tentoo is a "clone" I AM GOING INSANE

[gallusrostromegalus]

Since you're at the doctor's, medical headcanons. Who's afraid of needles, who's the biggest baby when sick, who insists that everyone just let them die, etc. etc.

Short answer before long one bc I have to drive but:

They're all deep, deep into the morass of the horrors and miracles of The Flesh.

---

The Karakura kids are weird because Ichigo's dad is an emergency trauma doctor and Ichigo's family loves above the clinic. Any time his friends come over there's a round of "so what wild shit happened in the ER since last time?"

(continued under the cut)

Uryuu's dad is also a surgeon, and the thing that gets him and Ichigo back on speaking terms again is more or less second-hand shop talk.

Orihime has been obsessed with emergency medicine since her brother died. She wanted to know what she should have done, and can do so it won't happen again.

Keigo has been carrying a first aid kit in his backpack since he became friends with Ichigo and Tatsuki in middle school. He's got an exceptional talent for patching someone up enough to get through English class without the teacher noticing the injuries after a lunchtime brawl.

Tatsuki started peeking over Orihime's shoulder at her notes on joint trauma and developed a talent for targeting her kicks and punches to deal maximum damage in karate tournaments.

Mizurio knows a suspicious amount about neurology and how pain works because his "uncles" keep telling him about techniques used by enforcers to extract payment or information.

Chad got heavily into Oxacan folk medicine because once he stopped getting in fights, he needed something else to occupy him, and his abuela decided to teach him how to cook. There is not a huge difference between good food and good medicine. He has an encyclopedic knowledge of chemoreactive plants and chemistry you can do on a stove.

Every single one of the Karakura kids has had something medical happen to them or a loved one, and every single one is now peering into the mysteries of the flesh about it.

---

The shinigami are worse.

Shinigami broadly have better physical resistance, esp because they're reaping the injury stabilizing benefits Senjumaru wove into the Shinigami Shushako.

But they live in a feudal society that has only SOME of the benefits of modern medicine, and the few instances of disease-mitigating infrastructure are far between. It's COMMON for the souls of the rukongai and Seireitei alike to have a sibling who died in infancy or a parent who died in child birth or of an infection.

Societally, they are still in the very earliest phases of the war against pestilence and it gives one a very warped perspective on all things medical. Especially if you happen to be in the immediate sphere of influence of soul society's greatest warrior against death:

Retsu Unohana.

I cannot overstate the impact this woman has had, and you don't do things like "decimate the nationwide infant mortality rate" or "pioneer organ transplant surgery" without being a bit mad, and she has lived so long and done so much that the madness has clarified into a single extremely dense point of determination and she warps the reality of those around her. Woe and Blessings alike to those within her event horizon.

---

The Arrancar are even worse.

Hollow resilience to injury allows them to body much, much worse injuries than the humans and it has an impact on etiquette. Biting off a hand because someone won't stop bothering you is a normal way to establish a boundary. Limb loss and regrowth is common, and disembowelment about as serious as a bad cold.

The food situation is even more dire. Smaller hollows, ones that used to be plants or animals or human-hollows who have a modicum of self control are weak, but lucky. They can survive off the ambient reiatsu in the atmosphere of Hueco Mundo, or the naturally cleaving fragments of soul that fall off the living.

Everyone else needs to hunt. And the more powerful a hollow becomes, the more it needs to consume, and the richer it's prey must be. The only really rich souls are other sapient beings. Any hollow at the level of Shrieker or Grand Fisher or higher is trapped in a hellish metabolic cycle of cannibalism, and the only way out is through.

The primary killer of hollows is other hollows. They know what they're doing. They're looking their fellow beings in the eye, the ones who understand them best, and deciding that their own life is worth their friend's. For all their ability to handle the slings and arrows of physical trauma, hollows are worse at handling the emotional consequences of this cycle. Monstrous Egotism is a best case scenario for them.

In practice, this means that while it's perfectly acceptable to bite someone's hand off for annoying you, it would be rude of you to spit it back at them. At least eat it!

I realize this last bit is not, strictly speaking, medical, but you can see how the ability to survive being turned into an anatomical Venus and having to live on a diet of the flesh of others would completely recontextualize how hollows think about Illness.

---

I will do the fun individual headcanons when I get home, but this is a good broader framework to consider for now.

[amoscontorta]

Hi, I write fanfiction about Love and Deepspace. Currently Sylus-specific, although I love and appreciate most of the LIs. Full summaries and tags are in each link.

Alike and cornered beast, Sylus's POV | ao3

I was desperate for Sylus's point of view during the first time that MC meets him in the Alike and Cornered Beast chapters of Long-Awaited Revelry. I wanted to know why he touches MC so reverently but also quite brutally, so I spent a lot of time thinking about possibilities and this is the result.

Roleplay, undercurrents, and rising curtain, Sylus's POV | ao3

It really bothers me in the game that the clearly traumatic experiences MC undergoes in the canon storyline don't seem to have any consequences for MC's character development. Yes, yes, this is a self-insert gacha mobile game, blah blah. MC has PTSD from chapter 4 (you know the one), and no one can convince me otherwise, so I re-wrote the auction bits from Sylus's POV to fix this grievous oversight, because I am also firmly convinced he is a champ at handling MC's trauma.

No way out, revised | ao3

I thought that MC was too mean to Sylus in his 4 star No Way Out card, and I didn't like it, so I fixed it. I mean, I rewrote how it went like a proper rabid fan. Sylus shows up injured near MC's place, MC tends to his injuries, and he takes advantage of the situation like a vampire and secures himself an open invitation into MC's home whenever he 'needs' it.

Datura tea, or how all you want is to get some sleep | ao3

You're suffering from insomnia due to untreated PTSD (probably, I don't know, I'm not a doctor or a therapist) from your family getting, well, exploded, and the longer this goes on, the sloppier you become in combat and just existing, and a bad idea is born (let's go to the club alone, drink enough to finally get drowsy and then go home and finaaaaally sleep it off). Zayne treats some of your injuries, Mephisto does Sylus's stalker bidding, and guess who appears at the club right before you're about to probably violate the Hunter's Association code of conduct on an idiot who has a hard time taking no for an answer? Spoiler alert: he can't sing but he can dance, even if he chooses to dance to the music he'd rather be hearing than the music actually being played. Full of clichés but hopefully with refreshing twists.

Sylus gets a headache | ao3

Sylus has secured the promise from you that he can use your place as a safe house if he's in the area and needs it. Sylus's definition of "need", it turns out, might be different than your own, as illustrated by the first time he shows up unannounced at your door.

Wine time with Sylus | ao3

Sylus invites himself over, helps himself to your first aid kit and your kitchen, manipulates you into tasting wine with him, discusses his latest business venture, and gifts you more than one present before he's good and ready to finally leave.

[adragonsfriend]

Use this one trick to instantly fix all childhood trauma (Jedi Masters don’t want you to know this)!!!!!

That is what every “if Obi-Wan had just— *adds one extra scene to canon* —then Anakin would’ve had perfect mental health and never listened to Palpatine at all,” sounds like to me. Look I am not an expert on any kind of psychology at all let alone early childhood development but,

It is possible to do your very best to help or raise someone and still have bad or imperfect outcomes, especially when you have someone actively, secretly working against you (cough cough Sith Lord of the month cough), (for many reasons, but in this case particularly), because unravelling the mindset built in early childhood is hard, actually.

Coming at this from the “raised in a safe and loving environment” side of things, it took me years to figure out and internalize that my friends whose parents weren’t as great as mine were functioning in an entirely different landscape when it came to their interactions with adults.

Many years ago when I was in middle school a friend (acquaintance? idk I think most people thought I was annoying) told me that her ankle kept giving out and causing her pain. I asked if she'd told her parents so she could rest or go to the doctor. She told me she had, but her mother either hadn't listened or refused to help. My (approximate) responses?

"So it's not actually that bad then?"

"You should tell her again."

"Are you sure you explained it right?"

The only explanation I could comprehend at the time was that there must have been some unclear communication about the situation or its severity--if her mother had understood she was in pain, she couldn't possibly have just not done anything about it? Adults are responsible, caring, etcetera! They wouldn't do that?!

With more experience, I've come to understand better, and learned to respond in kinder, more helpful ways, but the shift in mindset was not and is not intuitive.

And I had the luxury of figuring all that out whilst being safe myself. Coming from the other direction, being in danger and trying to figure out why other people act like the world is safe? I can't say for sure, but I imagine it’s a lot more complicated.

Point with regard to Star Wars being, it really is harder for Anakin, coming in later, to acclimate to the Jedi ways and thought processes than it is for his peers who grew up in the safe environment of the Temple. And whatever arguments people want to have about how much psychology and therapy exist in the Star Wars universe, or how much “Jedi just do cognitive behavioral therapy” (not totally inaccurate, but reductive on several levels), no matter what the answers to those questions, it will still be harder for Anakin.

There is a reason the council changes its mind on training him only after he is suddenly famous and the Sith are proven to be back. When Anakin was not in significant danger of being snatched up by someone else, it was genuinely probably the easier and safer option—for him and everyone else—for him to live a different life.

The Jedi are not necessarily fully prepared for a child with Anakin's history, and, there is nothing bad about living an ordinary life. Anakin would not have been somehow unforgivably robbed by living life as a mechanic or an engineer or something, rather than being a Jedi.

Anakin is a victim of many things in his life—Sidious, Watto, Gardulla, Tatooine’s everything, his own conscious choices—but he is not a victim of malice, incompetence, or idiocy by the Jedi just because they couldn't—in only a decade or so—help him fully and perfectly unravel the mindset he developed in his early childhood. If there was any lack of qualification on their part, it was one they were aware of—but which was outweighed by the danger of little Anakin getting kidnapped out of normal-kid elementary school.

Being brought up in and around slavery absolutely made him more vulnerable to Sidous and became the basis of their dynamic as master and apprentice. Acting like the trauma that affects his mindset and actions for his entire life can be obliterated just by making minimal changes to the plot is wild to me.

And don’t get me wrong, fics and headcanons can do whatever they want, not everyone wants or is trying to write a deep psychological character study (also fanfic and even fiction in general cannot and should not be held to any standard of realism if it's not serving the story and the author)—simple fix-it’s (my love) are fun and an excellent short-cut to other things like happiness and fluff (my other loves)—but don’t act serious about the idea that adding one conversation about his feelings or one extra explanation about Jedi philosophy would automatically lead to Anakin having perfect mental health outcomes and always making good decisions.

Disclaimer (if the ones throughout weren't enough) : please go forth and do whatever you want. the moral of this post is actually just that (1) you won’t convince me, (2) I wanted to talk about this, (3) the clickbait title was too funny not to post, (4) i literally can't open my mouth without phrasing things like i'm in the middle of a heated debate, and (5) i continue to not be an expert in early childhood development—my evidence is very literally anecdotal

[armageddon-generation]

Empire of Death was bad and cemented several fundemental flaws in this season.

I watched this in the theatre, and the contrast between everyone's excitement before Empire, and their universal disappointment leaving the theatre was super disheartening. I'm gonna try to articulate my problems with episode, and how they're linked to fundenental structural issues of this season.

SPOILERS BELOW:

Sutekh

The moment the UNIT characters died the story was robbed of any stakes. (Also? Kate and Ibrahim?? During Pride month?? Disgusting)

Sutekh was pointless, big CGI spectacle who was barely there. Saying he's been latched onto the TARDIS since Pyramids of Mars was such an asspull. Why couldn't he have latched on during Wild Blue Yonder? wouldn't that make much more sense??

You're telling me the guy who holds all life in contempt is invested enough in learning the identity of Ruby's mum he willingly reveals himself??

And then they defeat him by dragging him through the Vortex just like before, which it's been explicitly stated *didn't work* last time? He just *lets* Ruby leash him??

The 'death of death is life' bit, and the idea of the Doctor representing life as a Ying to Sutekh's Yang, is a cool concept just jammed in there with no real buildup or depth.

The issue is bringing Sutekh back takes so much effort- a literal, clunky clipshow of Pyramids of Mars, a whole episode spent building up to the reveal of a silly anagram entirely unrekated to Sutekh's previous appearance. And it just... amounts to nothing. What a silly way to cap off a season meant to be jumping-on point for brand-new viewers.

Mel was just takingup space. Pointless.

Ruby's Mother

I don't have a problem with the *concept* of Ruby's mum being normal. I really like the idea thematically. The execution was terrible.

First of all it leaves so many unanswered questions (why the snow? Why was time changing? Why was she shadowed? Literally just for the sake of the mystery-box?) and represents the worst thing about this new era- RTD using fantasy logic to handwave any logic at all, and just do whatever he wants without properly justifying it.

Second, I *hate* how easy and simple and neat the reunion is. Ruby seems incapable of getting angry with anyone. She has never once argued with 15, or Carla, or anyone besides that one moment in 73 Yards. She has never expressed any kind of negative feeling towards her mother for abandoning her. And it's fine for her to reach that conclusion! It's just bizzare we never see Ruby struggle with her feelings beyond the shallow goal of wanting to find her.

(Also Carla? Has nothing to say?? Just welcomes that woman in with basically no comment? Carla is a 2D cutout of a person, used as a plot device and otherwise relegated to the single character trait of I Love My Daughter. The children yearn for the ilk of Jackie Tyler, Sylvia Noble, even Francine Jones.)

15 & Ruby

The emotion behind 15 & Ruby's split felt entirely unearned because we've never seen their bond develop. They never argue, never disagree, Ruby hasn't learned anything about herself or grown or changed. The closest we got to that is 73 Yards, which was undone. She was already brave and kind and musical and sure she loved her adoptive family when we met her in Church on Ruby Road.

Similarly, 15 tells us Ruby encouraged him to talk about family in a way he never has, but that was in what, two moments across the season? And they seemed random, unrelated to Ruby being with him. New viewers will assume 15 is just that open anyway- he was discussing fatherhood with a dead man's hologram- and old viewers assumed trauma-dumping was just a new trait of 15's personality, not Ruby-specific.

The problem is we're told Ruby & 15 are best friends but it isn't earned. I liked 15 crying initially but both he and Ruby do it so much (15 cries about 5 times in this one episode) it loses its impact and I'm becoming numb to it. There is no contrast, no downtime.

Season Structural Issues

I think the biggest problem is Season 1's storytelling priorities. It's much more interested in selling *the show* (look at our big budget! And guest stars! And how flexible our format is! Musical episode! The Beatles as props! Bottle episode! Indie folk-horror! Black Mirror! Gay Bridgerton!) it forgot to put effort into developing and investing us in its characters. I liked a lot of the individual stories this year but in retrospect a lot of them feel like they're wasting space that needed to go to essential character and theme setup.

These skewed priorities, combined with the cut down episode count, really impact the pacing of the season. Ruby and 15 were barely together! Even in Rogue they were seperated for most of the story!! We only loop back to a flashback of 15 meeting Carla in Rogue!

This is made worse by the baffling insistence on a 45-minute runtime. We know key sequences were cut from almost every episode, with highlights including:

The Gobin King invading Ruby's flat and her banishing him with scratchcards in The Church on Ruby Road: Her missing 'companion saves the day' moment!

Refrence to the Toymaker in The Church on Ruby Road, which was itself referenced in The Devil's Chord. 'I told you about the Toymaker when we first met' sir, objectively you did not.

The TARDIS jukebox playing the Sugarbabes' Push The Button in the opening scene of Space Babies, hastily cut around in the final edit. This is the setup of a running joke still in the episode, and part of the story's climax. The first encounter with the Bogeyman was also longer, with 15 taking particular interest in its skin

Extended scenes in Abbey Road from The Devil's Chord, including an apparently significant speaking role for Cilla Black, according to her annoyed actress.

Cut dialogue from The Devil's Chord explaining the musoical number was caused by Maestro's power lingering, and that banishing them undid everything they'd done. Fans inferred thos based on the rules established in The Giggle, but again, new fans haven't seen The Giggle and were left clueless.

An opening sequence for The Legend of Ruby Sunday where 15 & Ruby meet Susan as a nanny in 1947 America, a blue-skinned waitress, and an astronaut meeting a colony of giant, sentient ants. At the end of this we actually see 15 decide to go to UNIT for help. In the broadcast version he just sorta shows up.

Really what Empire of Death exposed to me is how emotionally hollow the season was. I enjoy the exoperimentalism, but not at the cost of character. And then in the finale Russell reverts to almost a parody of his RTD1 finales, with the nonsense logic and lack of consequences. All the worst bits of Last of the Time Lords and The Giggle put in a blender.

[weirdly-specific-but-ok]

pt XVI good omens season 2 (still not traumatic) episode 3 EDINBURGH

HELLO IT'S ME IT'S THE OFFICIAL GOOD OMENS MASCOT WHY DO I STILL KEEP INTRODUCING MYSELF IDK. If you don't know who I am, thank God and Satan for their mercy and flee. Also, the day after I post this, I'll be watching the last three episodes on livestream for the first time so. You know. I'm hyped on the energy of this being my last day not enveloped in tears. Take the summary:

Before the episode starts, someone asks why Crowley said in the last episode that Aziraphale couldn't fall because look at him, all angelic when Crowley looked the same as starmaker. I reply that "Crowley thinks he deserved it, he sees Azi as something beautiful and untouched while he probably sees himself as idk marked in some way so god kicked him down."

I am told that I am learning too fast to weaponise the narrative to induce angst. So then I say oh, I go too fast for you. Tears ensue.

The episode begins! Everyone shrieks about Edinburgh, David Tennant, how it is their favourite episode, and SCOTTISH CROWLEY.

We open with lesbians being gay, and then Muriel enters as Inspector Constable! They are very sweet and very determined to do their job right, and they are adopted by Crowley and Aziraphale just like Jim.

Crowley sits on Aziraphale's chair's arm. The maggots all swoon.

Fine, I also swooned.

Aziraphale gaslight-gatekeep-girlboss-mansplain-manipulate-manwhores his way into getting Crowley to give him the Bentley keys (BOUNDARIES. BOUNDARIES.).

WHAT PLENTY OF USE DO BOTH OF YOU GET OUT OF THE BOOKSHOP?

The really ineffable plan is whatever the fuck was happening in Aziraphale's brain when he somehow went from London to Edinburgh via Loch Ness (check the map) and then proceeded to disguise himself as a detective who pretends to be a journalist.

Crowley slays in sleeve garters and a cardigan keeping house in the bookshop meanwhile, does not sell books, instead cleans with Jimbriel and periodically yeets book stacks into corners when distracted.

Aziraphale reads his old diary entries about Crowley, a (6000+) 13 year old with a crush.

MINISODE MINISODE. They are in Edinburgh during the mid 1800s. Victorian outfits, check. Scottish Crowley, check. Capitalist Karen Aziraphale, che-wait what.

Huh. Well. There's a wee bit of body snatchin' going on, to sell to doctors for medical research because there aren't enough murderers, and to make enough money to survive.

Aziraphale channels his inner capitalist judgemental Karen and ruins that plan, come on Aziraphale you have religious trauma but you're better than this, and long story short, Wee Morag dies after Aziraphale realises his error, her friend Elspeth has to sell her corpse for pennies, and is about to commit suicide with laudanum. Azi, oh god. I'm glad you underwent character development at least.

NOW CROWLEY HERE SLAYS. I KNOW THIS IS AZIRAPHALE'S PERSPECTIVE AND IS BIASED. BUT WITH THIS POV, CROWLEY SLAYS.

He calmly educates Aziraphale about how his whole "the poor have more opportunities and you shouldn't give them money or they'll lose the virtue of poverty" is absolute bullshit, and he does this understanding Aziraphale's situation and not losing his temper.

The framing. The framing of the shot when they see Wee Morag and Elspeth sitting down on a step and explaining their situation. Aziraphale stands above, bustling with righteousness, and judges them. Crowley sits down. He sits down next to them, rather than taking the high ground. He meets them where they are and empathises. It is the fact that he is fallen and damned that makes him behave really divine and sorry I wrote a whole hymn on him have it I'll stop rambling just know I love him.

I think his amusement is a facade so hell won't think he's genuinely being good. I think he's morally grey and incredibly brave and kind.

When Elspeth is bouta kill herself with the laudanum, Crowley grabs it and drinks it himself, and grows tiny and then huge, absolutely high off his head. David Tennant takes the opportunity to travel Scotland from east to west in terms of accent variety.

He gives us the good message of NO DYIN'. NO MORE DYIN'. IT'S NOT ON. And then forces Aziraphale (who doesn't want to ruin her virtuous poverty) to give the girl all the guineas he has in his pocket, and tells her to go off and start a farm or something. BUT NOT JUST PRETENDY GOOD, BE PROPERLY GOOD.

He then gets pulled into hell. To be punished for this. Aziraphale is frightened and heartbroken for him, looking around desperately, and we find out that Crowley didn't meet him for a while after. And later he wanted holy water. To protect himself? He got punished by hell. For how long? The whole month in between the incident and the diary entry? There can't be anyone better at punishment and cruelty than hell.

Sorry I'm just screaming here.

Never mind fuck I started this summary really happy and bouncy and listening to a dance playlist. Dionysus by BTS and Italian pop is still playing and now I'm crying.

Is this the natural progression. Fuck I'm crying. Sorry guys something else happens with Aziraphale politely talking to a phone and Crowley smiling really beautifully while unsuccessfully trying to manipulate two lesbians into a relationship and something about a visit I don't care everyone's being morally dubious as usual and then lovely Scottish music outro I CAN'T FUCKING ELABORATE I'M SITTING HERE CRYING OVER CROWLEY.

right summary done, time to go sob, lmao i thought i wouldn't cry today over good omens HAHAHAHA still not traumatic eh HAHAHAHAHAHAHHAHAHAHAHAHAHA

[seat-safety-switch]

"Hold on there, pardner. This here's a cognition hazard." said the holographic cowboy in the corner of my vision. He then took a series of poses that the designer must have thought looked heroic and protective, before flickering back to his original position and repeating the process. My artificial ranch-hand was not incorrect: the thing I was attempting to do would cause me unpredictable amounts of psychic damage, likely impacting my relationships with those around me and even my mental state at rest. Even so, I pushed the button and waited.

Software development used to be a sort of reckless task, undergone without care. Decades ago, hundreds of folks would cram themselves into a single building and then work hard on their computers to develop computer programs. Originally, these programs performed useful but difficult tasks, speeding them up dramatically for the varied needs of government and industry. At first, life improved. And then, as with every prior machine in human history, we looked for harder jobs for it to do.

A funny thing happens when a computer program gets longer than about a page of typewritten code. You have to hold a lot of it in your head. The best programmers could commit an entire system to memory, gliding through it like barracuda through a disreputable motel's swimming pool. We didn't know then how much trauma it caused. The doctors had no idea what was happening with all those isolated burnouts freaking out, moving into the woods, and hunting men for sport.

Watching the old newsreels now, seeing the 20th-century equivalent of coal miners delving willingly into fold-out charts of MFC inheritance diagrams, it's a little hard to stomach. It only took about twenty years of continued exposure to this kind of thing before the human mind rebelled, the manmade logical constructs providing a kind of sharp edge that ripped through sanity like a hot wire. Thing is, it still had to be done, and the folks who did it seemed to enjoy it up until The Void caught up to them too. So the government did what the government does best, and compromise. We'd all have warnings that what we were doing was insanely dangerous and life-shortening, and our employers would keep demanding that we heap more complexity atop ever-increasing mountains of irreducible cruft.

A good deal for all involved, especially the folks who got the contract to make the warning holograms about fifteen years ago. They must have loved their jobs, putting the little cowboy hats on them. You can tell in all the little complex details of his haunted face, begging me to turn back from my route to oblivion. One day I'd like to make something cool like that.

[harucchii]

Why ARE you proud of your asexuality, exactly? And how did and does it shape how you are as a person, having a natural lack of sexual attraction to anyone? What makes it important enough to celebrate? I'm asking genuinely because I don't understand and would like to. Thank you.

Hi! happy pride month :D

I am proud of my asexuality because is a part of me!! is something that affects the way i see people and for obvious reasons my relationships and trying to hide it or change will only lead me to be miserable

through my whole life i experienced things differently when it comes to attraction to people, i never seemed to develope crushes on my classmates or celebrities, cause i just.. didint care? to a point my mom got worried and straight up asked me if i was gay because my lack of interest "was not normal"

when i was in my first long term relationship my lack of sexual needs and desire was a huge issue that would lead on fights very often and my former partner to feel unloved as i would prefer just to cuddle or watch a movie. This back and foward with him and constant fights made me feel like efectibly was somethign wrong with me and transformed sex more of a chore than something im supposed to enjoy or want

thing which developed a huge sexual trauma on me but also helped me to understand that, that relationship would never work because i just could never deliver what he wanted and his needs were different than mine. we were just hurting each other

i also got sent to doctors by my mother as to find what was "wrong" with me as my lack of sexual needs was not "normal" for her

there is so much i had to deal and endure my whole adulthood because of this, because i experience thigns differently

now. more big and more mature i can confidently say, im asexual. I celebrate my asexuality because There was nothign wrong with me and the way i experience thigns is just different

i celebrate it and i mention it as an important part of myself because i know i will not be able to be in a fullfiling relationship if my partner is not aware of this fact or not willing to accept it

i celebrate it because doctors didnt found anything wrong in me and i just love differently. and asuming that lack of sexual attraction is part of an illness hurts people who might be dealing with this feelings!

I celebrate because in a hyper sexualized world i dont really seem to fit in, AND THAT IS OKAY, because the way i live my life should not affect others and they way they live theirs

i do feel romantic attraction! i can fall in love and love other person!! but i just cant deliver what most people would be expect in a relationship and that is okay!

And finally i celebrate to ensure online that the people who experience love differently just like me are not alone in this journey and will be okay :3. just a lil bit of emotional support for who might feel broken due what others say to them

I apologize if i repeat myself or i wronte something wrong as english is not my main language

have a good day!

[aossimusings]

Claire from the Bear, and why she's not badly written, she's just not occupying the character role people expect of her and they don't know what to do with that

Alright. I'm bringing some film student analysis to The Bear, and subsequently, Claire, because I'm tired of people saying crazy things like, "she's a manic pixie dream girl" or that her character is underdeveloped or badly written or that she's pure male fantasy or any other crazy, extremist reaction to her character, when really, I think she's occupying a different character role than we're used to seeing from characters like hers, and in typical The Bear fashion, we as an audience are not being told how to interpret her character with words, but with visual and narrative structure.

Be warned, this is a very, very long post.

Lets take a minute to understand narrative structure in film:

There's an A plot and a B plot. The A plot is what is referred to as "the promise of the premise." It's why you come to watch what you watch. The B plot is all the emotional character development/growth that undergirds the A plot and makes it emotional and impactful. So in the Bear, The A plot is the whole thread of, let's fix the Beef -> let's make a new restaurant -> let's get a star, etc etc, that evolves with each season. The B plot is mostly centered on Carmy (although other characters also have their own smaller B-plots) and on him healing from his grief and family and kitchen trauma and finding himself as a person, etc etc.

Claire as a character is a B-plot character. Her role as a character is to be a part of Carmy's emotional B-plot development, whereas the rest of the characters in the show occupy roles in both the A plot and the B plot. In a show centered

The thing that I think is causing a lot of the discourse around her character is the fact that she's not occupying a typical character role for her sort of character, and then people don't know what to do with her. They're either trying to slot her into a a bad female character role (like a manic pixie dream girl) and are then angry that that type of character would be included in the show, or they think she's a badly written attempt at a more developed character and are then angry because they think her character was fumbled, when in fact, she's neither.

Let's take a minute to examine these two roles:

The Manic Pixie Dream Girl

A manic pixie dream girl as defined by the Oxford language dictionary is:

"(especially in film) a type of female character depicted as vivacious and appealingly quirky, whose main purpose within the narrative is to inspire a greater appreciation for life in a male protagonist."

On paper, I can see why people would say that she's a MPDG. She's a little quirky, and she appears to "inspire a greater appreciation for life" in Carmy. She's a doctor, but she's a bad driver, she loves Mondays, she shoplifted in high school for the adrenaline rush, etc, etc. But I would argue that she's not actually a MPDG because her role in the narrative is fundamentally different than that of a MPDG.

In terms of narrative, MPDGs are a catalyst. They are crucial to the movement of the plot and the development of the main character. Specifically, they're supposed to be a catalyst for main male character growth. This is part of why MPDGs are a sort of problematic character -- the idea that they don't get dimension as a character, yet their entire role is to catalyze the main male character's positive growth and evolution is sexist. They aid the MMC at the cost of their personhood.

However, notably, Claire doesn't actually inspire positive growth in Carmy. He is not made better for knowing her. He doesn't grow as a person, learn from his mistakes. He isn't calmer or nicer in the kitchen, he doesn't resolve any of his trauma, I would argue that he doesn't even have a "greater appreciation for life" as is critical to the relationship between the MMC and the MPDG; he is just as depressed and anxious for knowing her as he was when he didn't know her.

So Claire: not a manic pixie dream girl, despite being quirky and trying to "inspire a greater appreciation for life."

The Badly Written Main Female Character

I think for a lot of viewers, if Claire isn't a MPDG to them, she's viewed as a badly written, badly developed main female character, who isn't afforded a lot of screen time, and as such, is one dimensional because she doesn't get much character development.

Wait, what? She's a badly written main character without a lot of screen time to develop? But part of being a main character is to have significant screen time to develop! But Claire doesn't have a lot of screen time... Tina has more screen time. Sugar has more screen time. Marcus has more screen time. It's almost like...Claire isn't a main character, even though, as a love interest, she occupies a role typically only allowed to main characters.

So then...what is she? To understand her narrative role, we need to take a minute to understand what Carmy's B-plot has established thus far. My apologies for the following, very drawn out explanation of Carmy's mental health. I promise I'll return to Claire, but this is important.

Carmy's B-plot (aka, the emotional stuff)

Seasons 1 through 3 are essentially following Carmy having a slow, drawn out breakdown. Or rather, it's not slow. It's a pretty realistic depiction of someone who is pretty mentally/emotionally unwell continuing to not get the help that he needs, and trying to fix things unsuccessfully on his own. But admitting that he's unwell feels like admitting defeat, so he's trying to fix things while never actually admitting that he needs help, and as such, is in a self-destructive spiral of trying to fix things unsuccessfully, feeling out of control because of it, trying to fix different things unsuccessfully, feeling even more out of control, etc etc.

By S3, we have a better understanding of the Berzatto family structure: an unnamed father who walked out leaving them in debt, Donna who is/was an alcoholic and otherwise emotional black hole, Mikey who died at age 43 (born 1979, died 2022 as seen on his prayer card), Sugar who's 36 a year after his death (born 1988, confirmed by her hospital intake in Ice Chips), and Carmy who is 26 a year after Mikey's death (confirmed by the original script.) So when Carmy was born, Sugar was 10 and Mikey was 18. This is important because in light of Fishes and Ice Chips, Donna was an alcoholic for as long as they were children, was incredibly unpredictable with mood swings, poor emotional regulation and maybe even emotional abuse (see how Carmy and Sugar essentially are trying to regulate their mother's emotions in Fishes), and probably some physical altercations if Donna's behavior in Fishes is anything to go by. Sugar explicitly says that she frightened all of her children. Mikey was probably the de facto parent in a lot of instances, being the only other adult in the household. The fact that he was also an addict, and as seen in Fishes, also violent or unpredictable at times, complicates this. S3E1's scene with Sugar and Carmy at the airport implies that after Mikey started cutting Carmy out (and struggling with addiction) Sugar started to assume that parental role. So that's a whole fucked up childhood right there, with very little room to healthily develop emotions or coping mechanisms or an understanding of healthy relationships. In ice-chips, Sugar demonstrates that she's aware of this. "I ask people if they're okay way too much," and "I'd make myself sick to make you feel better." Everything with Carmy's character demonstrates that he does not have this self awareness.

Carmy explains in his al-anon monologue that the rhythm of the kitchen became soothing to him, because it was so rigid and so predictable (a direct contrast to his home life.) But while it was soothing, he also cut contact with people in his life, because the self-isolation made things "quiet" (and probably gave him a feeling of control, like most self-destructive impulses do) which led to him being incredibly isolated and incredibly dependent on work as a coping mechanism by the time he ends up working with the abusive NYC chef. Important thing to note about that: now his only coping mechanism has been polluted by abuse as well, and the trauma of that will haunt him increasingly throughout the seasons (coupled with the fact that he's probably never learned how to healthily process his own emotions, in part because he ended up having to set them aside to emotionally regulate his own mother.)

Then Mikey kills himself. (which again, is the fucked-up family figure of brother and parent and addict and idol all rolled into one suddenly dying on you after abruptly cutting your out of their life)

I say all this because I want to make very clear that mentally, Carmy is not well. Across his various al-anon monologues, the fridge conversation, his flashbacks, etc. it becomes really clear that he's never really had any sense of safety or security in his life except for maybe when he was 18-24 when he did the French Laundry, Ever, Noma, and Daniel. The amount of anxiety that he experiences in his day to day life is not normal, it's not healthy. It's exhausting and damaging. He's also probably pretty depressed, and probably had been even before Mikey and NYC chef. He talked about in al-anon that when he was a kid, he could never feel happy or excited about anything because he was always waiting for the other shoe to drop (arguably because of his mother, because if she was upset, she made everyone else upset to deal with it, and if she was happy, he was waiting for her mood to shift.) We very rarely actually see him happy or joyful in any of the seasons. So basically, as evidenced by that and what we see in the seasons, he's got this really damaging spiral of anxiety and depression, where he's so anxious he can't feel happy.

Pursuit of happiness is actually what brings us to Claire as a character. He meets her almost right after he talks in al-anon about the fact that he should "provide amusement and enjoyment" for himself. Then he meets her in a grocery store, and promptly, and deliberately, gives her the wrong phone number. Personally, I read this as Carmy knowing that he's not ready for a relationship. He pursues it anyways, for likely 2 reasons:

Pursuit of happiness. Sugar always wanted him to get away from the Beef in S1, now he's trying to get some space and do something to "provide amusement and enjoyment"

Mikey! In Fishes, Mikey was really excited about the prospect of Carmy dating Claire. At the time, Carmy was like WTF, but in the wake of Mikey's death, this is probably a way of connecting with him. See, I can do it! I can date a girl! I can do this thing that you thought would make me happy. I can be normal. I can be what you wanted.

Now a little film student analysis:

One thing that I love about the Bear is that they're really good at the whole concept of "show don't tell". You'll hear about this a lot in writing advice, but it's actually even more relevant in film. Here's a good example from the bear:

The Bear never, ever says that Carmy has anxiety. I'm not even sure if the word "anxiety" is even said onscreen. Instead, The Bear shows:

Carmy drinking bottles of Pepto Bismal and chewing fistfuls of Tums, yet rarely eating anything

Carmy sleep walking and almost setting his apartment on fire

the sheer amount of nervous energy he has (tapping spoons, sharpies, cigarettes, etc. , never standing still, being generally twitchy)

some really great tricks with filming and lens that make the world around him shift focus, shift perspective, blur, and otherwise visually simulate the effects of an anxiety/panic attack.

In film, you have to be incredibly intentional about what you keep in and out. In my first film class, when we were doing film analysis, a lot of people would start "I'm not sure if this was intentional, but..." and the film teachers immediately shut that down with this statement:

"assume everything is intentional. even if it wasn't, someone still chose to leave it in" meaning that, in film, what you see on screen is actually a fraction of the material that filmmakers had to work with; if something makes it through to the final cut, it was important.

I mentioned before that despite Claire occupying a main character role as a love interest, she does not get main character screen time. Like I said above, I think a lot of people perceive this as her character being done a disservice, that she's badly written, that she's meant to be this perfect male fantasy, etc, etc.

Firstly, I present to you the fact that characters such as Sugar, Sydney, Tina, Donna, all have absolutely beautiful storylines and arcs. They're complex, well-written characters. I don't believe that Claire's lack of screen time is because the show-runners secretly idolize manic pixie dream girls and women of "male fantasy" and thus Claire is supposed to be this perfect person who doesn't need any screen time to be developed (which feels like a thread I've seen a lot.). I really don't think the show runners are secret misogynists. Sorry.

What I do believe is that Claire as a character is not meant to be central to the story. The show very intentionally spends more time developing Carmy's relationships with Sydney, Tina, Sugar, Richie than it does with Claire. Why? A host of reasons.

1. Because Claire is a new form of escapism for him, not that the kitchen is no longer is sanctuary.

I talked before about how after the NYC chef, and I would argue, now that he's trying to start his own restaurant, his one safe space of the kitchen has become polluted with the same chaos and/or abuse from the rest of his life which he spent years running away from. But because he's so isolated, he has no where else to go. So he creates somewhere to go, by creating a relationship with Claire. That relationship is his new form of escapism.

The show communicates that to us in one very specific way: 90% of the time, if Carmy is with Claire, we don't see him. This is not 100% true 100% of the time, but there was a clear pattern that developed in S2 that time spent with Claire is time spent off screen. I think a lot of people see this as "not developing Claire's character" and not giving her screen time, when in fact it's more so about Carmy's absence.

When he ditches Sydney to move boxes with Claire, we never see that scene. We just assume that he was doing it.

When Sydney is trying to figure shit out in the restaurant by herself, it's implied that Carmy is with Claire, but we don't cut to them.

When Carmy talks to Sydney about all the menu things he talked about with Claire, we never see those scenes.

Why? Because he is escaping The Bear by being with her. It would be a very different narrative if we actually did see these scenes, because it would demonstrate that they have an emotional weight and importance in the show. Instead, they're defined by their absence.

Carmy and Claire's relationship is defined by its absence in the show.

2. Claire is not the right type of partner for Carmy, and we're not supposed to believe that she is.

I think it's interesting to look at Carmy's relationship with Claire through Sugar's relationship with Pete. I was talking with some people and they observed that in a lot of ways, it makes sense that Sugar would be with Pete because he is completely non-threatening. In many ways, he's the opposite to most of the men in the Berzatto family (note: I'm not saying Berzatto men are threatening.) But Berzatto men are loud, and opinionated. Some of them engage in behaviors such as: screaming in their kitchen, and throwing spoons and sharpies; throwing forks like darts at their relatives and also shouting; telling their nephews that there nothing and worthless and will never be anything; walking out on their families and leaving them in debt; lording their financial success over various family members. You also have Donna as a parental figure who also throws things violently, yells and screams, is an emotional black hole, and has aggressively grabbed Sugar at least once. Pete is about as far away from all of this as you can be.

I think that Claire is Carmy's Pete in a lot of ways. She's quiet, and calm, she's non-threatening, etc. She's not emotionally manipulative, she doesn't ask much of him (so when she does ask things of him, it's a welcome escape), she is a doctor, which is meant to help people. However, and part of why I don't think their relationship would work in the long run, is that Carmy doesn't need a Pete. Sugar has an emotional intelligence that Carmy doesn't, for one thing. For another, as alluded to by Ice Chips with Sugar listening to the podcast about Adult Children of Alcoholics, each of them were affected differently by their traumatic childhood. And quite frankly, I think that Carmy needs someone who can be gentle and empathic and quiet with him, but also someone who won't take his shit and can stand up to him. (because unlike Sugar, who tends to internalize everything, Carmy has a tendency to externalize everything.) He tends to take it out on the people around him, and I think he needs someone who can simultaneously shut that down and hear him out. And I don't think Claire is that.

3. The chemistry just isn't there.

I don't want to get into an argument about shipping. I can't predict if Carmy is going to get back with Claire after some emotional development, or if he's meant to be with Sydney, or whatever. Personally, I think that any discussion of a relationship is premature (and I think that Carmy knew that subconsciously when he gave Claire a wrong number and was very hesitant on the phone when she called him the first time.)

What I have observed is this: the few scenes that we do see of Carmy and Claire feel a lot less emotionally charged than other scenes in the show. Forgetting romantic relationships, there is so much more emotion and connection in the following scene than in the scenes we see with Carmy and Claire:

Richie and Carmy's conversation about purpose in S2.

Carmy and Sydney's conversation under the table in S2.

Carmy and Mikey's conversation in the pantry in Fishes.

The snippet in the fridge when Carmy's talking to Tina.

The scene with Claire that really sticks out to me having emotional weight is the scene in S3 where they talk about the days of the week, Carmy's hand scar, and Claire accidentally almost killing that girl in the ER. It hurt so much you couldn't feel it. Firstly, it's telling that that scene happened in flashback, not during their relationship, and secondly, the main thesis of that scene was more of a commentary on trauma than it was about their chemistry (ie, Carmy is so traumatized atm, he doesn't realize that he is because of how much it hurts.)

This demonstrates to me that a) the show writers can write emotionally powerful scenes, and scenes with chemistry, and b) the lack thereof in scenes with Claire was an intentional choice because it demonstrates that other relationships are more important for Carmy's character than the one with Claire.

For all that Carmy said that he loved Claire, we never see any evidence of it. It's told, not shown. Whereas his affection for other people in his life isn't mentioned, but it is shown: "I have time for this" and sitting down to talk to Richie about purpose. Buying Sydney a monogrammed chef's coat because she liked his.

His relationship with Claire is important for what it helps demonstrate: his desire for escapism, his self-destruction, his emotional immaturity, the fact that he has other very important relationships and that he needs to deepen those bonds, the fact that he needs to get his priorities in order. It's not so much about Claire. And maybe that will read as sexist to some, because it's more about him than it is about her, but I don't think she's really meant to be a main character either.

[literaila]

can you please write a Peter Parker x reader one shot where the reader gets injured and when Peter comes to visit her in the hospital her crush is exposed because her heart monitor keeps going insane 🙏🙏 she’ll get really embarrassed and he may tease her a bit but ultimately her feelings end up being reciprocated. There could be some angst when she gets hurt but I am the number one fan of teeth-rotting fluff that will make me giggle and kick my feet 😍🫶 could be a friends to lovers situation or an established relationship if you’d like!!! I love ur writing <3

he’s trying to kill me

tasm!peter x fem!reader

a/n: it’s only proper for this to be a hurt reader comfort peter fic (and i mean that literally)

“what is wrong with you?”

you’re momentarily shocked when an accompanying voice bursts through the room. the words are loud and imposing, and completely distracting you away from the already rough rasp and egg smelling breath of the doctor trying to explain how reckless you were being.

but the new voice is angrier than the first; harder and louder.

there’s still uncertain goosebumps running up your skin when he walks through the doors with his chest heaving and eyes dark, pushing past the doctor like he doesn’t even realize that the woman is there, or just doesn’t care.

but his hands are gentle as they reach you, and his face is anything but shocking.

the doctor is glancing around his shoulder, a worried look in her eyes.

quickly, your muscles relax. you’re used to this imposition. your nerves settle, and you allow peter the chance to freak out for the both of you.

his hands run over your cheeks, his eyes darting over every possible inch of skin they can find. his frown is unburdened and furious. when he is satisfied with his scan of you—all limbs accounted for—peter’s shoulders lose a bit of their tension.

although you allow peter to pull you closer to him, his eyes are threatening, and not even your small greeting of a smile gets his face to settle.

he hugs you—crushing your head against his chest—and then quickly let’s you go, like he’s just realized that you’re made of lava.

but not too far, of course. peter is well within a foot distance.

“what is wrong with you?” he repeats, but a hiss this time. a punishment awaiting its victim. a demand of you. “are you crazy?”

your brows furrow back at him. “i’m fine, peter, now shush. let me listen to the doctor.” your voice is firm, but your chastising is ruined by the tip of a smile at your lips.

your hands wrap around peters arm, moving him away from blocking your view of the doctor.

you nod for her to continue.

“your x-rays came back fine, and there’s nothing unusual about your blood work. the only concern i have is about your head—“

“her head?” peter repeats, voice a bit high. you give him a look to shut up. pinching the skin of his arm, but he doesn’t flinch. just stares at you like you might disappear. or you gained four additional eyes.

she clears her throat. “it looks to be a minor concussion, but any more blunt force trauma might worsen your condition. so it’s important that you take extra precautions in the next couple of weeks, and avoid doing anything that might affect your head. no strenuous exercise, or harsh movement.”

“so no alleyway fist fights?”

she doesn’t laugh, and neither does peter. the tension within the room remains, swirling over you like a cumulonimbus cloud.

but he does interrupt once again. “could it get worse on its own?” he asks, eyes darting between you and her. “do i need to be watching for anything? checking her pupils every once in a while, or making sure she’s not excessively napping for the next couple of days—“

“it shouldn’t be necessary.” she looks back to you, and you can see the sarcasm in her eyes. “if you develop any unusual symptoms, schedule an appointment with your physician. but otherwise, you’re free to leave whenever they bring in your paperwork.”

you feel peter sigh next to you, and you shake your head. “thanks, doc.”

“i’ll have a nurse bring in a list of information about any reoccurring symptoms, and the healing process for your brain over the next month.”

you nod.

the doctor clears her throat once again, giving you a tight lipped smile and nodding at peter, and then she runs out of the room as fast as humanly possible.

you watch her go but peter is staring at you. eventually, when you’ve been dwelling on the pattern of the tile for a moment too long, you look back.

and what you see is expected; harsh lines and worried dimples, stormy eyes and a gash of a frown ruining his otherwise perfect face.

you sigh.

peter swallows. “are you going to explain yourself?”

you lean forward, small teasing smile on your lips as you rest your chin on a hand. “explain what? my headache?”

“c’mon, i’m serious,” his frown doesn’t budge, but he nudges your leg so he can sit down next to you. “what were you thinking?”

he sighs again, shoulders falling, and leans his head next to yours. when he’s this close, you can see the lines wearing under his eyes. you can smell smoke coming off of his skin.

“i was thinking that my doctor needs to improve her bedside manner, and that my boyfriend needs to learn how to wait his turn to speak.”

“i’m not kidding. you could’ve hurt yourself—you’ve already got a concussion.”

“a minor concussion.”

“does it matter?” peter mumbles, rubbing his eyes.

“i’m fine, baby, all bandaged up and everything.”

peter pushes himself up, meeting your eyes with an unfound passion. “this time,” he urges, getting closer, he glances at the door. “but what about next time when you decide to jump off a building just to prove you can fly?”

“i’m not icarus,” you shake your head. “you needed help, peter. i’m not going to let someone get hurt just so i don’t.”

“that’s my job.”

“that’s every good samaritans job,” you roll your eyes, hand brushing through his hair, feeling the dirt build up under your fingertips. “just because you have an advantage over everyone else doesn’t mean that you’re the only one who gets to be a hero.”

“dying isn’t heroic.”

you scoff. “that’s actually the most heroic thing a person can do, but i’m going to let you have this one so you don’t go and get any ideas.”

he bites his lip, swallowing. “you could’ve gotten hurt.”

“well so could you, but you don’t see me bursting into your room and interrupting—“

“that’s not the same thing.”

“how, peter?” you ask, shaking your head and giving him a small smile. “how is this any different?”

“because i can handle it!”

he moves away from you, and throws his head back, sighing out of frustration and looking at you with gentler, more pained eyes. “i can handle it,” he repeats.

“are you saying that if you were standing where i was you wouldn’t have pushed that woman out of the way?”

“i—“

“you cant expect me to watch you save everyone and not help when i can.”

peters eyes catch yours, and you watch him struggle to speak. but eventually he whispers, “you got hurt.”

“i’m okay, though. really.”

“i don’t…” peter shakes his head. “i don’t want, i can’t—ugh.”

you reach for his hand, running a finger over bruised knuckles. “i appreciate your concern,” you tell him, softly. “i know you’re just worried, but you have to let me make my own decisions. you cant rescue everyone all the time.”

“you would be enough.”

you snort. “peter, you have the worlds biggest savior complex. if you let a single person get hurt—even if they live in antarctica—you brood for days. i don’t expect you to watch other people suffer, but i need you to respect the same for me.”

your words are almost biting.

there’s a moment where peter looks at you, and then glances towards the wall. “are you mad?”

you frown. “no, of course not. annoyed or frustrated, maybe. but not mad.”

he gestures beside you with his head. “your hearts beating really fast.”

you look over to the screen next to your head, watching the lines rise and fall rapidly. and then down to your finger, with the cursed device making it apparent to everyone in the room.

“that’s just my resting heart rate,” you say, curled lip and waved hand.”

peter licks his lip. “oh, really?”

“yes, peter. you put on the finger thingy and let’s see how fast your hearts going.”

“i’m not the patient here. are you feeling alright? light headed? dizzy?”

“i’m feeling interrogated.”

peter moves closer to you, eyes darting towards the screen by your head, then to your eyes. he moves away, and his eyes squint. “hmm.”

you look with him, furrowed brows. “what?“

he leans forward again. “there seems to be a common factor.”

“i already told you—“

“every time i move closer to you your heart rate spikes.”

you roll your eyes. “that’s because i’m mad at you.”

“i thought you said you weren’t mad?”

“things have changed.”

peter laughs and leans down to kiss your hairline. when he moves back his eyes aren’t on you. a small smirk falls on his lips, and he moves to kiss your cheek. and then the other.

you don’t need to watch your heart rate to feel the heat rising in your chest.

he leaves a peck on your nose, and moves to kiss the side of your jaw. his kisses are gentle and ticklish, and when his nose runs along your cheekbone, you have to refrain from shivering.

he’s incredibly annoying.

peter moves back as little as possible so he can watch the screen. “maybe i should leave the room.”

“maybe you should get over yourself.”

peter moves forward again, kissing your cupids bow. and then his lips are at your ear and his fingertips are grazing your jaw.

“you first,” he whispers.

you groan and tilt your head, trying to shake him off of you. “this isn’t fair. get your own monitor.”

“let’s just focus on you right now.”

your hand locks around his neck, the other moving to his hair. peters eyes are almost shocked at the feeling, but his momentary surprise gives you the perfect opportunity to pull him closer.

to actually kiss him and avoid dying of any more teasing.

peters smile is evident against your lips, but he doesn’t move away, and his breath meets your own in gentle strokes.

his hand is smooth as he tilts your chin up.

you can feel your own heartbeat, but peter takes his other hand so he can rest two fingers against your neck, feeling for your pulse.

you want to die at the feeling.

“interesting,” he says, his lips brushing yours.

you roll your eyes while they’re still closed, and hope that he can feel it. “shut up.”

peter laughs again, and guides you in short but tense kisses, like he’s trying to make sure that you’re still breathing.

he doesn’t budge when you try to force him closer.

and before you can get him to kiss you properly again, there’s a clearing of a throat, and a different kind of spike in your heartbeat.

a nurse stands behind peter, looking a bit uncomfortable.

peter moves away, swallowing, and greeting the nurse with a shake of his hand. she’s holding a clipboard and a juice box, giving the two of you a brief smile. “sorry to interrupt,” she says.

peter laughs and looks back at you with wide eyes.

you smile, then point at peter. “he’s trying to kill me.”

*

[foreverdolly]

this is a self pitying post and i’ll probably delete it later- but when i’m sad i tend to write it out. i’ve used this blog like a diary of sorts for the last two and a half years. i’ve developed a relationship with a lot of you on here and i appreciate all the love i’ve received so far on my last post. my friends that i have in real life, no matter how long i’ve known them, don’t know too much about my upbringing or my parents. i hate the idea of trauma dumping- it’s uncomfortable for other people: so don’t read this if you don’t want to. i wouldn’t blame you.

my dad died from cirrhosis due to alcoholism. he died miserable and alone. he had no friends. his family was sick of him. i tried to call him as often as i could but sometimes he could be mean if he was drunk. i knew not to call him after 11:00 in the afternoon because he would start to drink. he lived in his youngest brother’s basement and almost never came upstairs because he was embarrassed. i haven’t seen him in three years because he lives fourteen hours from me, but i tried my hardest to call him every week and keep him involved in my life. he never saw any of my homes, never met any of my friends, and never even saw me drive a car (i’ve been licensed since i was eighteen). i cried to him almost every week, begging him to get sober.

he never recovered from my parent’s divorce, and for that i feel so sorry. he called my mother his soulmate and always spoke in past tense- talking about when me and my brother were little. he would tear up when talking about the first time he ever saw me in the hospital after my mother gave birth, and he was vocal about the fact that i was his favorite. we shared a lot of the the same interests and always had fun when talking.

when my mom made a suicide attempt two years ago he was there for me almost everyday, calling me despite the demons he was battling with himself.

the last time i spoke to him was thursday- a week from the day he died. he told me that he almost called a treatment facility but he got tired and took a nap instead. his doctors appointment was today at one and he was going to ask to be admitted and then go to a rehab facility. i told him i’d send him money while he was in there- he hasn’t been able to hold a job since i was still in high school.

my dad was a chef. a damn good cook- classically trained in french cooking. he had the loudest laugh i’ve ever heard, so much so that it used to make me cry when i was a baby. we used to wear matching costumes and he’d sign me out from school on halloween and call me out the day after. he took me to my first concert, but he couldn’t afford both the gas and the tickets (so i paid for the gas with my pocket change at the age of thirteen). he wore adidas strictly- shell toe was his favorite.

when i was little my dad was on night duty while my mom was away: tucking us in, reading us books. he refused to read to me and walked out the door but not before saying “bed bugs and stuff”. i thought it was so funny. it became our saying. every night we spent with each other we said “bed bugs and stuff”. so that was my last send off to him. i hope he’s finally resting well and isn’t depressed, ashamed or lonely anymore where he is.

he died in his sleep. they found a solo cup filled with vodka next to his bed and i can’t stop thinking about the fact that he was going to get help today. he was yellow due to jaundice. what a cruel world.

[aerialflight]

fic rec list (in other words, i need a list for my neurotic brain and its obsessions, f me)

Yeah, everything said above. also, the deadpool and wolverine brainrot is real. i only watched it a week ago. nfeiwofpewafe.

-

[Deadpool and Wolverine] (i'm still desperately searching for more. i just need a list for the ones that won't leave me alone fyufivuohbjl)

How To Pay For Rent 💸 by fictionfeast

Ship: Logan | Worst Wolverine/Wade Wilson (i still can't believe this is the ship name, they actually put worst wolverine as a specification. it's such a unique dynamic and relationship that we NEED that differentiation. amazing.)

To pay for rent, Logan and Wade take odd jobs on Craigslist.

(listen, LISTEN. just from the fact craiglist is involved, you KNOW it's gonna be off the walls crack and hilarity. i swear, this fic went in directions i never in a million years would've predicted, it's amazing. the voices for these characters are impeccable and i, too, would like to shake deadpool like a snowglobe so some goddamn honestly will barf out. logan, you have my sympathies. please read, i'm literally going insane.)

shattered glass by anarkissed

Ship: Logan | Worst Wolverine/Wade Wilson

At first, Wade is pretty sure it all starts with the bullet- the one Logan had held in his teeth and spit out like it was a prize. Or maybe it starts in the Honda Odyssey. Or maybe it had started way back with Logan's smile. That first sardonic one when they'd met. Or maybe it's the way Logan is always staring at him. Or maybe- "I think you're enjoying this too much." "Maybe you're not enjoying it enough." It’s more bite than kiss, more claim than caress, but it’s their mouths connecting all the same, and Wade gasps, hoarsely, as blood wells up from his lips and Logan tongues it away like it’s his god-given right. Oh, oh oh, oh- he’s crazy. He’s so crazy. Wade has never wanted anyone so badly in his entire life. Wade tries to figure out where whatever he has with Logan started. (And he's kind of hoping he never has to see how it ends.)

Part 1 of dying engine (poolverine/deadclaws)

(i'm not fucking kidding when i say this is my favorite d&w fic. i want to gnaw this in my mouth and develop vampire canines as i sharpen them every fucking reread. there are passages here that i reread like a fucking lunatic and i use the find in page option for the word 'crazy' just so i can go to my favorite part. and the fact there's a freaking part 2? that has logan's pov in it??? and it makes me feel just as unhinged??? it makes me want to go apeshit. please read. for the love of god.)

how easy you are to need by Patricia_Sage

Ship: Logan | Worst Wolverine/Wade Wilson

Wade smiles when the doctor opens the door. "Hi, we have a vet appointment at 2:00. Please tell me he doesn't have rabies because I have been scratched and bitten plenty." *** Logan gets treatment for adamantium poisoning. Wade helps.

Part 2 of he has risen, babygirl

(i fucking CACKLED reading this, omfg. also, wade's version of helping is both sweet and freaking hilarious, i love this idiot so much. and this fic! addresses the fact logan probably has ptsd medical trauma and i love that. it's hardly ever addressed and i appreciate how it's shown here. also, it's a series! part 1 is great too, you don't need to read it to understand part 2 though, dw.)

Void by RovingOtter

Ship: Logan | Worst Wolverine/Wade Wilson

After a week without contact, Logan leaves Wade a weird voicemail.

(i'm religiously checking in on this for updates. i know the summary doesn't say anything, so i'll say it here. logan becomes aware of the fourth wall and it's so fascinating??? a genuine look on what happens if the wolverine becomes aware that he's a fictional character and the exploration of that premise here is *chefs kiss* delicious. and how wade reacts to it and how they both deal with the aftermath of this development is so interesting and god, i NEED to know how this fic will go. genuinely one of those fics that have a premise i've never thought about before and it's GLORIOUS!)

where soul meets body by Edgebug

Ship: Logan | Worst Wolverine/Wade Wilson

"I'll probably see you around?" "Probably not," Logan says, something in his spine still shaking even now, and Wade looks at him with those huge dark eyes that look--hurt, maybe, heartbroken, and Logan knows he has to get up and leave before he can't. Each step is agony increasing, the thing in his spine trembling ever-harder and then Wade calls his name and he stops, turns, sees those eyes again; pleading, desperate. A rush of emotion slams into his hindbrain, it feels half foreign and half his own; don't do this can't do this without you please stay please stay stay stay stay let me stay stay stay "Come home with me," Wade blurts out, and Logan finds that he's taken steps toward Wade without realizing it, closing the yawning gap between them, and the thing in his spine relaxes just a little. "Okay," he says. (In which something very interesting happens underneath the Time Ripper, and Wade and Logan deal with the aftermath.)

(they vulcan mind melded and now can't live without the other. i just love this author's writing and i read every one of their d&w fics. i'm in love with their characterization of not just d&w but the rest of the cast as well! and the banter and genuinely fun interactions between d&w has me kicking my feet and giggling like a school girl. please read, i totally recommend this fic and the rest of the author's other fics XD)

your fool in this game for two by abillionstars

Ship: Logan | Worst Wolverine/Wade Wilson

“Have you ever lived with anyone before?” At Wade’s question, Logan pauses to think. Scratches his balls for a second, and says, “I lived at Xavier’s school for a while, before I left. Lived in a clapboard boarding house about seventy years back. A couple of times, I slept in a park with other people nearby. Do those count?” “That was a rhetorical question,” says Wade. “Some might even call it an accusatory one. Mostly because—dude. I’m a fucking mess. But you’re even worse.” (two loser loners, falling in love.)

(this is crack. the peak of romance, the very height of big squishy feelings. it's perfect. god, i am utterly trash for this fic, it's so fucking good fnewiofpew)

Love You All Over by FinelyDressedSpacemen

Ship: Logan | Worst Wolverine/Wade Wilson

The bad guys have love spells now, apparently. Logan gets nailed. Wade tries not to. With great power over your sexiest friend comes great emotional responsibility.

(where wade tries his best to respect logan and logan makes this, so freaking hard for him lmao. lovesick logan is truly the most flirty version of wolverine and it's incredible. it's like if hugh jackman himself is trying to romance the shit out of you. wade really is the stronger person, incredible. anyway, this was a joy to read and if you like musicals, this is definitely for you <3)

I'm the worst at what I do by Thestarvedghost

Ship: Logan | Worst Wolverine/Wade Wilson

Logan finds out from Wade after everything is said and done, universes saved and friends met, that most hims across the multiverse have some sort of memory issue, one way or another. Logan wishes he was that fucking lucky. He remembers it all.

Part 1 of No end and no beginning

(i recommend this entire series, the progression on d&w's relationship has me singing! it's so sweet and fluffy! well, as fluffy as 2 murderous, self-hating bastards can be anyway lol.)

-

[Dimension 20] (Fantasy High, A Court of Fey and Flowers, A Crown of Candy)

interchange by fangirl_squee

Fandom: Fantasy High

Oh, the Bad Kids? Yeah, in that group they have [checks notes] a pirate cleric, a goblin bard, a Helioic fighter, an elven barbarian, a tiefling rogue, and a half-orc wizard.

(it's so interesting how different yet the same the bad kids are even with their class changes. man, the idea of fabian being a freaking cleric still makes me want to cackle. he'd be so much more Exasperated by the bad kids, especially freshman fabian X'D. also barbarian adaine has my whole fucking heart.)

yeah you held me the whole way through, when i couldn’t say the words like you by zedif_y

Fandom: Fantasy High

Ship: Riz Gukgak/Fabian Aramais Seacaster

When Fabian is ten, his Papa tells him the story of how he married his mother. It’s a gory tale, one that involves a cut eye and bodies hitting the deck. He tells Fabian of a love that sent him to his knees, that leads a man like him– fearsome and powerful, the greatest pirate to ever live– to start a family. A love that gave him Fabian. --- A study on Fabian, grief, and, ultimately— love.

(an exploration on fabian's idea of what love is. god, it's so well written. i love this fic and absolutely recommend it! <3)

white knuckles by thathastu

Fandom: Fantasy High

Ships: Fabian/everyone (but all unrequited)

His ex-fling’s little sister. Two people in committed relationships who also happen to be in the same mega famous rock band. A heartbroken lesbian who doesn’t want to be involved with men in any way. And Riz fucking Gukgak. Fabian Aramais Seacaster, son of Bill Seacaster, finds himself falling for all of his friends.

(seeing the bad kids through fabian's eyes made me realize why the bad kids would be considered attractive to people who know them! it's so sweet how much fabian cares and pays attention to them and the constant feeling of 'oh no oh no' both made me want to laugh and coo at him lmao)

life in a wallflower garden with my friends by sickoflosiingsoulmates for lesbiansweetflips

Fandom: Fantasy High

Ship: Ayda Aguefort/Figueroth Faeth

This is what Ayda has spent her entire life searching after. This is what she built the friendship section in the library in hopes of, what she spent long, lonely nights dreaming of. A night with a friend, a true friend, laughing and talking about nothing in particular. [or, ayda finds friends in the bad kids]

(ayda has friends! ayda has frieeenndss!! i'm so so in love with her and this fic is so fluffy and sweet! gah, instant shot of endorphins, guarantee!)

allies and fealty, or, on finding the first knight of the new Court of Craft by fangirl_squee

Fandom: A Court of Fey and Flowers

Ship: Binx Choppley/Captain K. P. Hob

The enemy of my enemy is kind of my friend. Or something.

(i'm always a sucker for rare pairs and man, this is something i didn't even know i wanted. i love how slowly and carefully they build trust in each other, especially binx who is so secretive and initiated this relationship in the first place. by the end, i completely bought this ship and the potential for it.)

I've walked a fragile line and I've fallen down by jadeandquartz

Fandom: A Crown of Candy

Anger is burning in Lapin’s chest. It is bitter, and it is bloody, and it shines brighter than any Bulb the church might care to invent. Normally, he leaves his emotions be. He cannot afford to let feelings drive him forwards. Remaining logical is the only safe way to play the game of politics - and if you do not play it safe, you die. And if you die, then what was the point? But nothing about their predicament is normal. So, fuck playing the game safely. Fuck that. The world will not play safe with the lives of those he loves. *** In which Belizabeth Brassica is looking for a heretic, and Lapin confesses to his apostasy to protect the House of Rocks.

(one of the first crown of candy fics i read and i never looked back. lapin survive stories makes me so feral and god i love this cantankerous bunny so so much fnewiofewp)

to leave this all behind (halo round his head) by grumpyhedgehogs

Fandom: A Crown of Candy

Lapin blinks slowly at Brassica as she steps up to the bars of his cell, the guards splitting around her like so much water over a stone. He inclines his head, trying for regal and probably failing. “Heretic.” Her voice grates against his eardrums. “You have awakened.” “Zealot. You haven’t killed me.” Lapin replies, dry.

(another, much longer fic where lapin survives and i'm so in love with how much detail and fantastic characterization this fic has, not just for lapin but for the whole cast! the day i stop loving the lapin survives trope is the day i die.)

-

[The Terror] (yeah, i know, extremely random, and yet here we are. it's due to this animatic here that i was introduced to this show in the first place. def recommend both the show and this artist *thumbs up*)

I'll be Homeward Bound in Time by clandestinegardenias

Ship: Francis Crozier/James Fitzjames

Back in the Arctic, stuffed two to a sleeping sack and trying to keep each other alert, he and James used to name every good type of thing they would eat when they got back, knowing–as they thought–the time would never come. 'Cream puffs', James had sighed one frigid night in a partial feverish delirium. Francis could hardly see him but for the lightest starlight, yet he had heard the smile evident in his voice all the same. That close, he had nearly felt it. --- Hailed as heroes on their miraculous return to England, Francis and James fail to cope, but nonetheless manage to fall together.

(i love how warm they are here, how clearly these two depend on one another and find joy despite the fact london is trying it's best to stamp out this closeness. post-rescue is always such an interesting time where they get to reflect and be traumatized by what happened in the arctic and the lack of understanding that is found when they go home. it's done so well here and man, i just love these two together. the ship that sails their ships lmao)

death is a sailing ship by Maleann

Ship: Francis Crozier/James Fitzjames

"James had died knowing that his heart, the core of his very being that no biographer would ever know, would carry on in Francis Crozier. Would be protected, cherished even, because Francis deemed him worthy of such care. Oh, how he had loved Francis then. He had been at peace with this being his last living thought. It’s his only thought now. In this undead life, his love has nowhere to go."  ___ James Fitzjames wakes up in the Afterlife. It looks strangely similar to his cabin on Erebus. (Updated with amazing artwork by Marella!)

(the fic is so!! kind!!! to all its characters! and fitzjames is in full form here, i love how it's him that's trying so hard to take care of his men, despite sir john and his lack of empathy. to have fitzjames damn what is proper and trying to do his best as always even in the freaking afterlife, god. you can just see how much fitzjames changed from the beginning of the show to his end in this fic. how all the characters changed, really. every character here is given room to heal and face the consequences of their actions and there were moments that it seriously made me cry. this is my fave fic in this entire list, it just does an amazing job of showing compassion to all its characters and i love it.)

there but for the grace of- by TheGoodDoctor

Ship: Francis Crozier/James Fitzjames

“I wish you would stop being such a martyr,” a languid voice says quietly, drawling as well as a man can with two missing molars and a glassy, bloodshot eye, leaking all the while from open chest wounds. Francis is rather impressed with his dedication to the role, somewhere under the roil of fury and exhaustion. “You know as well as I do that you could have this bed sometimes, if it didn’t suit you to stomp about with blacked eyes and a put-upon expression.” “And what should we do with you all the while, Commander,” he says, all on a great sigh, “wrap you in sailcloth already? Come, man, you’re either well enough to cease bleeding on my sheets or too ill to get out of them, you can’t have it both ways.” “Francis,” Ross began, “I did not undertake to accept the position of second on Franklin’s expedition for you, as you asked.”

(this fic scratched a brain itch i didn't even know i had. it's so interesting to think about, the idea of crozier not being on the expedition and instead being the person who rescues them instead. fitzjames and crozier actually developing a relationship based on this premise, without the shared trauma, is so so intriguing to me and i wish i had more of this. also, the fact crozier is so much more mentally healthier than canon due to ross makes me want to laugh and cry. god, if only.)

out of the sea came he, still hid in mist by dazydaisy for shortcrust

Ship: Francis Crozier/James Fitzjames

You make bargains you cannot keep. You make promises you plan to break. You give things that are not yours to give.

(a haunting, magical realism fic that feels like a gothic fairy tale. exactly my kind of fic! and if it's yours? definitely a good read *thumbs up*)

At Civil Twilight by lieutenant_iceberg

“Well,” said Francis. “Jopson, will you see what you can do with this three-year-old peace offering? A cup for each of us, and one for you.” “Sir,” said Jopson, collecting one of the bags. “You’ll be up all night if you take coffee now.” “I’ll be up all night anyway. Go, Jopson, go.” When he was gone, Francis got up from the table, and they stared into the depths of the bag together. Finally, Francis cleared his throat and said, “All right, then, James. How have you fared since I hit you?” A few days after Carnivale, Crozier and Fitzjames make a faltering attempt to talk things over.

Part 1 of Civil Twilight

(oooh, the very start of their friendship! how to make peace when their entire relationship is based on animosity and contempt! the dialogue and characterization of these two in this series is so good and i absolutely recommend!)

rebuilding by wildcard_47 for 20thcenturyvole

Ship: Francis Crozier/James Fitzjames

Once they stepped ashore, a fey dark-haired man burst through the crowd a few heads down from Jane Franklin. When Fitzjames saw his brother, he startled, and when Will surged forward in the first press of the crowds around the returned—elfin face wet with tears as he swept James into a fierce embrace—only then did Fitzjames release his grip on Francis’s arm. Only then did Francis feel as if he could step away at last. Written for the 2023 Fall Fitzier Exchange, for the prompt: "Post-canon AU where, once they get home, Crozier and Fitzjames are riddled with guilt and trauma, and deal with their feelings by throwing themselves into caring for the surviving men..."

(i'm always so fascinated by post-rescue stories that actually deal with the aftermath, the logistics of it all. how the characters struggle to handle their own traumas, how they help one another through their experiences, all of it. and how both crozier and fitzjames step up for their men even now, even when they're no longer captains in the arctic and have to deal with london and all it's trappings. this fic handles all that so very well, i love it <3)

As Bullet Speaks to Gun by pointyshades

Ship: Francis Crozier/James Fitzjames, Thomas Jopson/Edward Little

Against all odds, they are rescued. Cornelius Hickey is court-martialed for his mutiny, and the whole mess of the expedition is unfurled in front of the public. With their names being dragged through the mud, Francis Crozier and James Fitzjames reach out to each other. Meanwhile, Thomas Jopson seeks revenge for what he believes is his captain's betrayal, and Edward Little tries to come to terms with the truth.

(yes!! edward little my beloved gets to shine here! and jopson is so bitter and angry and messy, it's great! again, i love fics that tackle what would happen post-rescue and how london would react to it. the trials, both actual and mental, they have to face in order to move on and be happy (oh please oh please) is handled expertly and i love it! crozier/fitzjames ship is a little more background in this fic compared to jopson/little, but honestly? i'm so sucked into the latter ship that it doesn't matter. both ships are written very well here and again, my beloved edward little is glorious in this fic and i love it! you go edward! woohoo!!!)

Principles of Magnetism (a Comedy of Manners) by acaramelmacchiato

Ship: Francis Crozier/James Fitzjames

The one where they're married but it's still Victorian times and also it's an accident.

(you don't understand, this fic is so fucking funny. it's so goddamn victorian and sir john is so jane-austen-silly-characters coded. i want to both shake his hand for making this premise happen in the first place, and punch him in his punchable face. and crozier is perfectly characterized here, i can visually picture his disgruntled expressions so clearly in my mind, it's incredible.)

Thaw by orphan_account

Ship: Francis Crozier/James Fitzjames, Past Captain Francis Crozier/Sophia Cracroft

Courteous, charming Fitzjames, whittled down to maturity by the North, and being there, very obviously, not as Francis's right-hand man or as his comrade, but as his mate; a soulmate. Sophia had no need to look at Francis’s face, at the discoloration that would have turned one of his blue eyes into the good-coffee brown of Fitzjames's, to know it, so blatant and luminous a thing it was.

Part 1 of A Victorian Soulmate AU

(very interesting fic where one can choose their soulmates, choose who they want to bond with for life. and the fact it's sophia's pov and how she deals with this fact is handled so carefully and full of goodwill. it makes me want to applaud. i love how clear it is that they're grown ass adults willing to discuss and make peace with one another because they're all genuinely good people who want happiness both for others and themselves. this fic feels like a flower that you hold in your hands to admire it's beauty and delicacy.)

And It Is Now, And It Is Here by 20thcenturyvole, pointyshades

Ship: Francis Crozier/James Fitzjames

Before the ships are trapped in the ice, James Fitzjames sees a terrible vision of the future, a harbinger of his own death. Before the ships are trapped in the ice, Francis Crozier is visited by a tender apparition, an angel wearing James Fitzjames' face. They are both seeing the same vision. Whether they can heed its warning is another matter entirely.

(when the ghost of your future haunts you, you better believe it changes to the plot. i love the dichotomy of how crozier and fitzjames reacts to ghost fitzjames! it's so interesting and i was on the edge of my seat the entire time i read this. if you want to know how it all ends, please read! i promise this fic is a ride you want to get on.)

Waistcoats! or, Life Before the Passage by sadsparties

Ship: Francis Crozier/James Fitzjames, Lady Ann Ross/Sir James Clark Ross, Lt Henry T. D. Le Vesconte/Original Character

Commander James Fitzjames of the Royal Navy is the Best Man that a best friend could ever ask for. A chance meeting forces him to share his arctic expedition duties with one Captain Francis R. M. Crozier, and perhaps other duties as well.

(listen, the terror is a horror show and i both want and need lighthearted fics in order to deal with all the horrors lol. but seriously, this fic was genuinely just fun to read and i love the banter and slowly developing friendship and relationship between crozier and fitzjames! truly the romantic comedy fic in this fandom. XD)