And though this story isn’t a wedding fic, per se, I adore Holding Them by Quillwing717. It features married InuKag and newly-made-father Inuyasha musing about the miracle of his little family. It kills me every time I read it.
I’m sorry the list is so short! I’m apparently not as well-read as I thought I was. Anyone else have suggestions for ‘Nony? Feel free to add to the pile!
Draco and Harry become coworkers after the war, they decide to stop fighting and even become somewhat friendly. They end up hooking up after a ministry event, but Harry makes it pretty clear that it was just a one night thing and it won’t work between them because of their past.
A usual response would be a sad, self-depricating Draco. But no. Instead, Draco cultivates an elaborate plan to redeem himself to rub it in to stupid Potter’s stupid face. He’ll show him who’s not good enough.
He contacts everyone he’s ever hurt and asks for a chance to earn their forgiveness. That includes all the Weasleys, his estranged aunt, baby Teddy, Hermione, Luna, Dean, Neville, Ollivander, Madam Rosmerta, random Hogwarts class mates, anyone he can think of.
He supports and helps Hermione with her house elf legislation proposal, goes to Dean’s art shows, joins Luna’s weird creature expeditions, works odd shifts on Three Broomsticks, plays unnecessarily competitive chess with Ron, finds and tends to a borderline illegal plant with Neville, looks at obscure muggle stuff with Arthur, baby sits Teddy and just generally has so much fun?
What starts out as a mission to spite Harry ends up becoming a huge journey to discover himself. He makes new friends, reconnects with his family, grows and changes as a person and learns so many new things! The only problem is that he’s just so busy that he sort of… forgets about Harry and the aforementioned face rubbing.
Harry doesn’t forget though, he’s watching all this happen from the outside thinking ‘idk what’s happening to Malfoy but i need to know MORE’
This is from the family AUI’m working on with @chibichibisha in which Katsuki and proto!Katsuki are twins, and Deku and Yamikumo are cousins. We love this AU and have many ideas for it, so expect to see more in the future.
We had to turn on a space heater in my office and that made me think of “White Out’, so here’s some post-ice wall cuddling… TGIF!
There’s a low murmur coming from the kitchen, the quiet but
firm voice of Mary Margaret helping to soothe Elsa’s guilt over all that has occurred
and her fears of a sister possibly lost forever. Emma knows that this is where
she should be stepping up as Savior, but she’s cold and tired and honestly –
completely unwilling to pull back from the comfort of Killian’s arms. That damn
ice wall might still be up on the edge of town, but the one she’s been keeping
up between her and Killian is currently nowhere to be found.
He shuffles slightly and she feels a gentle tug as a few
strands of her hair get snagged by the short scruff of his beard. It’s in that
moment that she realizes just how tangled up they are and her fatigue-clouded
brain begins to try to make sense of how that could be. With her alone in the chair,
he must be poised on his knee on the hardwood floor and has been since they all
got back to the loft. There’s no way his knee isn’t killing him, but he hasn’t
complained and has only jostled her twice, both times moving his body even
closer. The thought of the obvious pain he must be in just to hold her has her leaning
her head further into his coat to hide the blush creeping over her cheeks.
She’s given him the opening to show her the depth of the
affection he feels for her without fear of her rebuff and the strength of it is
warming her faster than the pile of blankets draped over her lap. She should
let him get up; even if she knows in her heart he doesn’t want to leave her
side. What’s even clearer is how much she doesn’t want him to go. She almost
died tonight. He could die tomorrow. It’s just the course her life has been set
upon and there’s still a needling part of her that wants to push him away
before it’s too late. It’s selfish, indulgent, and potentially harmful to them
both, but she just wants him here, close, in this fragile bubble of warmth and
Okay. I’m writing this meta sitting on a plane having seen TFP exactly once (in English) and having done a quick Wikipedia refresher on The Importance of Being Earnest after not having read it for 10 years. I’m also typing this on my phone so don’t expect formatting.
We need to add the out of the blue conversation about Oscar Wilde into the pile of “something fucky” about this series. If you can, try to put aside your rage about invoking Oscar’s ghost in this atrocity of an episode and bear with me. And if you’re not in a place to entertain tin foil hat conspiracies, that is absolutely okay.
Premise: My faith in Mark Gatiss is at about zero right now, but I’m still reluctant to believe that Mark would not only draw our attention to this play, by this man, in a show steeped in 1895, when there was absolutely no plot relevant reason to do so other than to get up the hopes of queer viewers and then brutally dash them.
WHY, then. Why any of this.
It could be brutally unnecessary queerbaiting. Or, alternatively: it could be something fucky. (If I’m wrong, then I’ll be the first in line to drag him, btw.)
If you’re not familiar: Wilde was a famous queer dramatist in Victorian London, he was a contemporary and friend of ACD, he wrote awesome queer literature that was too obvious and he was arrested and imprisoned for it (in 1895) which caused his early death. Being Earnest, in particular, is famous for being one of the most blatantly, obviously queer coded works of the Victorian era. It’s in part what got him arrested in the first place. I mean. There’s a character named “bunbury” (just wait for it), and the phrase “Earnest” was itself a code word among the Victorian gay community used to identify one another.
Now. Here’s where the fucky part begins. Being Earnest was written in 1895, the same year Wilde was arrested for aggravated gayness. Drawing attention to this play in particular is now drawing another 1895 parallel in actual BBC Sherlock canon, for better or for worse.
So we’re to believe that for no reason whatsoever, when Sherlock and Mycroft are saying their goodbyes to each other thanks to that idiotic “patience grenade”, that Sherlock finds it necessary to remind Mycroft that he played Lady Bracknell in Being Earnest and that he did a good job of it. Well that’s weird. Until we look up the character synopsis of Lady Bracknell: “the perfect symbol of Victorian earnestness - the belief that style is more important than substance and that social and class barriers are to be enforced.”
SOMETHING’S FUCKY, SOMETHING’S MAJORLY FUCKY. This is a perfect summation of Mycroft’s role in TAB. the perfect image of the establishment. The enemy that must be defeated. It’s also the perfect description of this episode: style over substance, and that social and class barriers (heteronormativity) are to be enforced.
Just for funsies, let’s look up the character synopses for the two main characters of Being Earnest:
John (Jack) Worthing: A young, eligible bachelor about town. His family pedigree is a mystery, but his seriousness and sincerity are evident. He proposes to the honorable Gwendolyn Fairfax, and despite leading a double life, eventually displays his conformity to the Victorian moral and cultural standards. (Holy shit, it’s John.)
Algernon Moncreiff: A languid poser of the leisure class, bored by conventions and looking for excitement. Algernon, unlike Jack, is not serious and generally out for his own gratification. Lady Bracknell is Algernon’s aunt. (Holy shit, it’s Sherlock, down to the funny name.)
And just to round things out, who is Gwendolyn Fairfax, the woman John proposes to? She “believes style is important, not sincerity. She is submissive in public but rebels in private.” This would fit with pre-redemption arc Mary.
The plot of the play is that both Algernon and Jack lead a secret double life using the assumed name “Ernest”. Algernon pretends to have an invalid friend named “bunbury” (ahem) out in the country who he needs to tend to, and uses this as an excuse to avoid social obligations. (This really has shades of sounding like the institutionalized Euros plot?) Jack, meanwhile, escapes his life of duty and responsibility in the countryside and becomes a libertine named Ernest when he goes to the city. (Oh hi, adventure craving John.) Farcical miscommunications happen, blah blah, the play ends with everyone officially named Ernest and everyone happily engaged to be married.
Back to the question, WHY, WHY FOR THE LOVE OF GOD WOULD THEY DO THIS? I think I may have an inkling. Being Earnest is known for two things: being suuuuper gay, and being trivial and farcical to the point that reviewers of the era were hesitant to even give it a shot. The queer coding implications of bringing this in are so obvious it goes without saying, so let’s move on to the farce. Reviewer William Archer said that he enjoyed watching it but found it to be empty of meaning. “What can a poor critic do with a play that raises no principle, whether of art or morals, creates its own canons and conventions, and is nothing but an absolutely willful expression of an irrepressibly witty personality?” Others said “it is of nonsense all compact”, and “the story is almost too preposterous” (to not be a soap opera).
Are these critiques sounding familiar at all??? Long story short: IT’S A LITERAL FARCE.
Lastly, let’s not forget what quote Mycroft actually brings into it: “the pure and simple truth is rarely pure and never simple.” The possible implications of that, I believe, go without saying.
I don’t want to get too far down into the meta rabbit hole because if I’m wrong it would be a waste of my time. But. SOMETHING IS EXTREMELY FUCKY HERE.
If - IF, and I recognize it’s a big if - there is a bigger plan here, our question is why do it this way, why bother with all this. I can think of two potentials: 1) If they’re highlighting the environment that ACD Sherlock was written in to make a larger point about heteronormative culture, or 2) something went wrong at the BBC level and they’re highlighting that we’re still culturally stuck in the same era.
Can we all just agree that there is a strong possibility this reference was written in for some sort of a purpose? Hopefully? Probably? There are too many parallels here and the signaling in the dialogue to this play was too out of place to just drop Wilde’s name for the sake of it? And if they did it just to add to the queer subtext that they’re not going to make use of, this is next level queerbaiting to the extent that I genuinely have a hard time believing Gatiss would allow this to happen? I’m hoping against hope? We know how important Wilde is to Mark as a gay man. If there’s nothing more, then I’ll come back to this topic in the future and pick it apart as free standing queer subtext. This just heightens the stakes of the “brilliance or dumpster fire” quandary we’re staring down right now.
If it were me writing Sherlock (and obviously it’s not, and obviously I don’t trust these guys right now): I would say that it would be a nice touch to update Wilde’s version of being “Ernest” - having to take on an assumed name and a secret double life and hide your queerness under subtext - to the modern queer standard of just “Being Earnest”. As in honest. True to one’s self. Ernest to Earnest.
It’s fucky. It’s just so fucky. What the fuck are they up to, guys.
Could you write one about a family thanksgiving dinner?
The street was filled with bright yellow and orange leaves, burning bright against the deep black of the road. A beautiful sunny day, the leaves fell down like rain, glittering in the late morning light, while the breeze tossed them around, filling the almost dead lawns with another layer to add to the piles. A lone car made its way through the neighborhood, watching the canopy road become a little more bare.