WH0 R U???
Warnings: Professor!Reader, Tara eye-fucking you, and that’s all I believe.
Summary: Tara’s attractive Professor comes to the rescue.
A/N: I’ll be doing a part 2 soon w smut 🥲
part 2
Several years of school, scholarly work, and teaching experience led you here.
To Blackmore University. You were younger than the average professor, but your dedication and passion for education set you apart.
You were professional and not one to be pushed around. That much was clear when you set foot inside your literature classroom for the first time.
English was always your favorite subject, and you excelled in it throughout your academic journey. So, why wouldn't you pursue a career in teaching English at the university level?
However, for the next few months, you won't be teaching literature. Instead, you'll be filling in for your co-worker Laura, who's away on FML, taking on the role of teaching film study.
While you may not have much experience teaching film, Laura was desperate for someone to cover her classes, and you were willing to help out. She's been nothing but sweet to you. Plus, how hard could it be? You've watched movies before.
When you walked into the classroom on your first day, late in the afternoon, you were greeted by a bunch of drama kids who were honestly confused; you could see it in their faces.
They were expecting Laura, their experienced film study teacher, but instead they got you, someone with little to no teaching experience in film.
"Professor Y/LN?" Jason Carvey, a student from your previous class, asked with a puzzled expression.
"What happened to Laura? We were really looking forward to her class."
You took a deep breath, placing your belongings on the desk at the front of the classroom.
"Unfortunately, Laura had an unexpected personal matter to attend to and won't be able to teach this semester. But don't worry, I may not have much teaching experience in film, but I'll try my best."
You reassured the students, hoping to alleviate their disappointment. "Professor Crane provided me with some materials and resources to help guide us through the semester. Additionally, I've been doing my own research to ensure that we have a fulfilling learning experience in this class."
You give the class a tight-lipped smile before opening your briefcase.
"Well, shall we get started?"
Tara didn't know exactly what it was about you that made her eyes widen and her heart begin racing. Sure, anyone could see you were attractive, young, and obviously confident, but there was something more captivating about your presence.
Was it your voice? Was it how you commanded the room with your words? Or perhaps it was the way you'd lean back against the desk, crossing your built arms as your eyes scanned the room, exuding an air of authority.
Tara found herself drawn to you like a magnet, unable to tear her gaze away. She was intrigued by the air of mystery that surrounded you, wondering what secrets lay behind your confident façade.
As class went on, Tara's dark brown eyes scanned over you like a predator assessing its prey. From your perfectly styled hair to your amazingly kept eyebrows, your enchanting y/e/c eyes, to your sultry lips—don't get her started on your sculpted jawline.
You were a sight to take in, captivating and commanding attention without even trying. You presented yourself with an effortless grace that made it impossible for anyone to look away.
Your white button-up shirt was crisp and tailored, hugging your form in all the right places, and your black slacks were perfectly pressed, accentuating the length and strength of your legs.
Tara's stare flew back up, staring at the bulge in your pants, her cheeks flushing with embarrassment and desire—
"—Tara, is it? What do you think?" Tara quickly snapped out of her momentary distraction, her cheeks still flushed.
She cleared her throat and tried to regain her composure before responding, "Oh, I'm sorry. Could you please repeat the question?"
You smile, showcasing your charming dimples and perfect smile. While Tara was in her trance, you found yourself relaxing into the class's discussion, feeling like you no longer needed to put on your strict professor persona.
You leaned back, crossing your legs. "How do you think directors like Quentin Tarantino push the boundaries of traditional storytelling in their films? Do you believe their unique approaches have a lasting impact on the film industry?"
Tara nods, playing with the pencil that sits in front of her. "Yeah, I think directors like Tarantino definitely push the boundaries of traditional storytelling, especially with their unique approaches that challenge the audience's expectations and keep them engaged. Like Kill Bill and Pulp Fiction, for example, and how he used non-linear narrative structure and unconventional use of violence to create a distinct cinematic experience that stands out from the mainstream. Peak cinema at its finest."
You raise an eyebrow, impressed. "You surely know your film." The freckled-faced girl giggles in response, dropping her gaze to her hands.
At the end of the lecture, Tara approaches you with a small smile on her face. You look up from your notes, which Laura had given you, and it also confuses the fuck out of you. With a quirked eyebrow, you meet Tara's gaze, your face softening.
"Oh, Tara. Need something?" Tara hesitates for a moment before speaking. "Actually, I was wondering if you'd accept my late work. Professor Crane gave me extra time to complete it, but I still couldn't finish on time. I understand if you can't, but I thought it was worth asking."
You bite on your lower lip, not noticing how quickly Tara's eyes drop to the action. "Uh, sure." You rip out a piece of paper from your notebook and write down a quick note.
"Here's my number. I lost the login to my email, so this will have to do. Send me your late work, and I'll make sure it gets to Professor Crane. Just make sure to include your name and the assignment details in the text so there's no confusion. I'll do my best to help you out."
Tara's eyes light up with relief as she thanks you profusely. "I really appreciate it, thank you so much." You nod, giving her a tight-lipped smile before focusing back on your notes.
A few days later, you're home alone, eating a bowl of ice cream while you watch the movie Stab. Suddenly, your phone buzzes with a new message. Your eyes fight to tear away from the screen, and you reluctantly pick up your phone to check the message.
+1 (347) 871-1921: wh0 r u???
You squint at the unfamiliar number, puzzled by the message. After a moment of hesitation, you reply.
You: I'm sorry, but I think you have the wrong number. Who are you trying to reach?
+1 (347) 871-1921: profdsser y/ln
You furrow your brow, trying to decipher the cryptic message. It doesn't make any sense to you. Curiosity getting the better of you, you decide to respond one more time. You: I'm sorry, but I don't understand what you're saying. Can you please clarify?
+1 (347) 871-1921: rolling eyes emoji
+1 (347) 871-1921: three ht poreffesor whofilling for ms crane?
Was this Tara? You put down your bowl of ice cream; this had to be Tara. And she had to be drunk. You take a deep breath before responding again.
You: Tara, is that you? Are you okay? It seems like you're drunk.
+1 (347) 871-1921: ummmmmmmmm
+1 (347) 871-1921: busted
You: Tara, I'm really concerned about you. Is everything alright? Please let me know if there's anything I can do to help.
Tara: iamat the frt house
Tara: canyoucum pik me up, pleas?
You twist your lips, concerned about Tara's well-being and the fact that she is asking for a ride. Surely she had friends with her. You didn't want to leave her stranded, but you also didn't want to be the professor driving their students home from a wild party. However, you take a moment to gather yourself before responding.
You: Of course, Tara. I'll be there to pick you up. Just send me the address, and I'll be on my way.
Tara has started sharing their location with you.
You see the location pop up on your phone, quickly checking the estimated time of arrival, and mentally prepare yourself to pick up your drunk student.
2K notes
·
View notes
I understand people giving Lucrecia the benefit of the doubt with regard to what she did to Vincent, just like I understand people not realizing how undeniably fucked up Gast was, but the important thing to keep in mind about these characters is that the majority of them are written as being in the throes of some pretty extreme cognitive dissonance.
It's not bad writing, it's that they're hypocrites. They reached a moral event horizon at some point, and they did what they felt they had to do when crossing it.
Gast abandoned a child because he wasn't what he wanted—even having raised Sephiroth up until that point and knowing that he was a pretty normal kid overall, as we can see from his behavior as a young teen in Ever Crisis, Gast still couldn't bear to continue to be responsible for a monster. He knew what Hojo was capable of, because he knew about what happened to Vincent, because it happened in his lab, and he left a literal child in his care anyway. Sephiroth's only crime was not being what Gast thought he was, and Gast damned him to a lifetime of torture under a "father" whose only goal was to use him to prove his own genius. Why? Because Gast had a goal, and the goal was what mattered, the ends justified any means he could devise. He was a man obsessed, driven to the verge of madness in his lust for the Promised Land. A religious zealot with the most powerful scientific team in the world at his disposal, ready to prove him right—and then he wasn't right, and the whole world fell apart underneath him. Ifalna gave him back that stability, because she was a real Ancient, and she gave him a new, better child to care for. A child that wasn't a monster, a child that was his, a child that might one day lead him to the Promised Land, if her mother didn't do so first. When Aerith was born, Gast got to be right again, and therefore all was right with the world. Sephiroth (like Genesis before him) may as well have never existed at all.
Lucrecia openly experimented on a man who loved her enough to die for her, going so far as to apparently use data from those experiments to improve her own academic standing, because she couldn't bear the guilt of being responsible for his death. It wasn't about whether it was the right thing to do, it wasn't about whether she loved him back, it wasn't even about her thesis at that point—she just couldn't continue to live having lost everything as a result of her own impatience, her own lack of regard for everyone around her. She killed her mentor through her own impatience, she gave up her son for experimentation, she didn't stop her husband from experimenting on her ex-lover, and she had nothing to show for it but crippling Jenova toxicosis and an equally crippling cowl of regret.
I could even go into Hojo here, how what he did to Sephiroth was a result of struggling to escape Gast's shadow, how what he did to Vincent was a result of him struggling to prove that he deserved his wife, how everything he did was born from the all-consuming need to do just one thing for which no one else could take credit. Hojo got the director position not because he earned it, but because Gast ran away. Hojo got Lucrecia not because he wooed her, but because he didn't have eyes like the unrequited first love that she killed. Hell, Project S only happened because Project G failed! Nothing Hojo has ever had that was worth anything was because of his work, only because the work of others failed. Why do you think he talks about "failures" the way he does? The failure of others is the only reason he's gotten so far, and he knows that any failure of his own will knock him right off that pedestal—and he's terrified.
None of these people are good people. I don't know that any of them ever were. But in their eyes, everything they did was justified, they took the right course of action, because they took the only course of action that their personal understanding of reality would allow them to take.
Were any of them actually right? Probably not. Certainly not, in some cases. But there's no going back on it now. The arrow has left the bow of the goddess, and there's no calling it back.
96 notes
·
View notes