James Potter accidentally shifting into Animagus shape when someone gives him a scare, and the first night Harry starts screaming in the middle of the night Lily isn’t sure if she’s still dreaming when she sees a distressed deer jumping against the bedroom door
IS EVERYONE JUST GOING TO ADD THAT GIF TO ALL MY JAMES POTTER POSTS ARE YOU SERIOUS
Anonymous said: steve gets the ability to read tony's mind for a few hours and at some point tony thinks something like 'okay fuck i cant think about how i'm stupidly in love with steve oh wAIT FUCK NO WAIT I TAKE THAT BACK IGNORE THAT' and steve's like 'wat' and kissing happens bc of course kissing happens
Tony’s mind is overwhelming.
It’s all-consuming, it’s terrifying, it sets Steve’s brain alight just being able to watch it in action: electricity singing through his synapses as Tony thinks on several wavelengths at once, thinks about repairs to his suit, the schematics of it, thinks about donations and equations and what has to be done to fix the city this time, thinks so much and so hard it makes Steve’s head ache to be listening in on it.
Sorry, Tony thinks at him, keeps thinking it towards him over the three days that Steve is plugged in to Tony’s mind, along for the roller coaster ride and reeling in its’ wake.
Tony does repairs on his suit, rips out part of its guts and stuffs metal back in, because getting thrown into a building mucks up the co-ordination system, apparently.
Steve frowns when he overhears Tony thinking so dismissively about getting hurt, like it’s all part of the collateral damage to the city that he can fix later but isn’t wholly important right now, and Steve is about to say something when he gets interrupted by the blinding shock that is Tony’s brain working.
Holograms spread about the room, and Tony taps buttons that are basically another language between spoken between him and JARVIS, but Steve can understand them now. His pencil stills in his hand, unable to keep drawing with the overwhelming force of Tony thinking, Tony working, Tony figuring out problems that stump the world’s best scientific minds.
Tony’s mind is static, it’s big and it’s loud, and Steve catches snatches of terror every once in a while from it. It can’t be the same terror that Steve feels at touching his mind, the awestruck-wondrous-honored-scared that happens whenever Steve witnesses Tony think, because Tony has to be used to it after spending all his life inside his own head.
No, Tony’s terror comes from thoughts that cut off whenever he feels Steve’s presence inside his head. Always something fast and fleeting, something about Steve that is squashed by other thoughts whenever Tony starts articulating the thought properly.
Steve asks Tony about it, but Tony smiles- it’s fake, Steve is clued into every single one of Tony’s fake smiles now- and tells Steve not to worry about it.
But Steve worries, and withdraws at the same time, because even if he’s worried, it’s not an excuse to go diving in Tony’s mind. He stays on the surface thoughts as much as he can, so he can’t be to blame when Tony finally thinks the thought he’s been swallowing down ever since Steve woke up with the ability to read his mind.
At breakfast, as Steve eats a torn bit of toast, Tony looks at him and his chest constricts, and Steve hears it loud as a foghorn, drowning out every other thought: God, I am so fucking in love with you.
Steve freezes, and Tony does the same when he realizes what he’s done- he moves fast, clumsily, knocking a plate to the floor and not caring when it breaks, he moves for the door but Steve blocks him.
"Sorry," Tony blurts, and Steve’s heard it so many times over the past day, but never out loud. "I didn’t, I thought I could, you weren’t supposed to find out-"
Inside Tony’s mind, it’s a blur of bright light and spinning diagrams and the yanking primal urge to get the hell out of there, now, nownownow, and when Steve takes Tony’s face in his hands, everything dies down to a quiet roar before starting up again, deafening.
"Hey," Steve says, keeping his voice soft, but Tony still winces. "Hey," Steve says again, and bends to brush their noses together. "It’s okay, it’s just me, I love you, Tony, breathe."
Tony does breathe, a hitching, shocked thing, Steve can feel the disbelief vibrating around his head, panic bouncing off his skull, nerves going haywire wherever Steve is touching him.
Steve kisses him, and his eyes flutter closed as he listens to Tony’s mind going quiet again, alive with soft light.
Anonymous said: omg so steve and bucky are super close right? so close that everyone, literally /everyone/ (the media, shield, avengers, /tony/) think that they're dating. tony doesn't cope well.
Steve thinks it’s funny up until he finds out there are legitimate documentaries in which they interview the Howling Commandos, all of whom think Steve and Bucky are in a relationship.
"Son of a bitch," Bucky says from beside him, and throws popcorn at the black-and-white screen. "Dugan, you asshole, I told you that story in confidence.”
"I’m pretty sure they all knew we kissed that one time as teenagers," Steve says, and then pauses to chew popcorn. "Huh."
"Hmm," Bucky says, turning his head but not taking his eyes off the screen.
"Nothing," Steve says. "Just- I thought they knew we weren’t actually in a relationship."
Bucky snorts. “Why, you offended?”
"How dare you think I could be offended by our timeless love,” Steve deadpans, and turns to Bucky, holding out his arms. “Come here, you big lug.”
"Fuck off," Bucky shouts as Steve all but leaps on him, making kissy noises. They’re locked in an epic wrestling match, complete with exaggerated kissy noises that are half-laugh, when they hear Tony say, "Oh."
They both twist awkwardly to see Tony white-knuckling a cup of coffee in one hand and a doorknob in the other, his smile strained. “Sorry,” he says. “I- JARVIS usually tells me if someone’s getting frisky in the room I’m walking into. Sorry,” he says again, and walks out, closing the door a bit too hard.
Steve blinks at the closed door. “Shit,” he says, turning to Bucky with wide eyes. “Bucky, shit.”
"They think we’re together," Steve says. "I always thought they were joking, and we always went along with it, didn’t we?"
"Yes," Bucky says slowly. "Because it’s hilarious, why are you- ohhhh, shit," Bucky says, barking a laugh. "That’s why Stark hasn’t been flirting back! I thought it was because you stink at flirting."
"Shut up," Steve says, sticking him in the ribs with his elbow, and Bucky yelps and the wrestling resumes.
Or, it resumes until Clint walks in, makes a face and says, “Ew, god, not on the couch, c’mon, guys,” and walks back out.
"We should probably tell them we aren’t dating," Bucky says, voice muffled from biting Steve’s shoulder.
They do it at breakfast. Everyone’s eating, and Steve makes sure the whole team is in the room before saying casually, “You all know Bucky and I were never actually together and never will be, right,” at which point Bucky snorts into his cereal and everyone turns to stare at them.
Except for Tony, who hunches further over his coffee.
"Uh," Bruce says, and then coughs. "Steve, you know we’re perfectly fine with-"
"I’m aware, thank you," Steve says. "I’m also aware that Bucky and I have only ever just been friends."
The staring doesn’t stop.
"We’re very close," Steve tries.
"I walked in on you making out yesterday," Clint frowns, and Steve sighs.
"We were wrestling."
"All of the Commandos said you were together!"
"Yeah, well, we were in very close quarters and Bucky and I have been friends forever-"
"Look, we love each other, okay," Bucky cuts them off, raising his hands. "And maybe, maybe we’ve macked on each other a couple of times, but that was out of curiosity, and also, c’mon, we’re both really hot. But we don’t have fuzzy feelings for each other, right, Stevie?”
"Fuzzy friendship feelings," Steve says. "But no romantic feelings."
"You call him Stevie,” Clint points out, and Bucky shrugs.
"Yeah, ‘cause we’re close. Still not dating." Bucky shovels more cereal into his mouth. "Thought we’d tell you guys. For reasons.”
Steve kicks Bucky under the table for adding that last bit, and that turns into a foot-wrestling match that eventually knocks the table over.
Later, when Steve is sitting in Tony’s lab, Tony puts his soldering iron down and says, “It does make more sense, now.”
Steve looks up. “What does?”
"Bucky telling me to ask you out last week," Tony says. "I thought he was making fun of me, which didn’t add up, because Bucky and me stopped being dicks to each other about a year ago. He did a whole speech about how good we’d be together."
"Yeah? You gonna ask me, then?"
"I’m," Tony says, and scrunches up his nose at his own outfit. "I was supposed to do it with a tux on, and probably some flowers, but-Steve, would you like to go to dinner with me sometime?"
"Love to," Steve says. "Is eight tonight good for you?"
"Eight is great," Tony says, and Steve grins before getting out his phone to text Bucky, thanks, jerk.
His phone vibrates seconds later: you’re welcome, punk. i’ll accept tony’s thank you in the form of a new gun.
awww this is toooooo cuuuuteeeee!!!!!!
Most of the spoilers for season 666 of Glee read like bad fanfic and have long time fans who’ve hung in there and stuck by this shuddering wreak of a show rolling their eyes in disgust. That this is the best that Emmy winning show runners and writers could come up with to see a once critically acclaimed series out. Most of what I’ve read promises an inglorious sendoff for a once enjoyable show.
But there is one spoiler that actually does make an enormous amount of sense when you stop looking at the character through the lenses of a fan and actually examine how the story has progressed over the past three seasons. And that is the spoiler that Rachel Berry is returning to Lima not riding high on her glorious professional career, but in abject failure with her tail between her legs.
Now I know that this has a lot of Rachel/Lea fans completely steamed, that the girl who started off dreaming huge dreams of stardom is now the one of her group who is coming back to their small Ohio town as a failure. Yes, it is a humiliating turn of events for Rachel, but here me out… it’s actually been building for a long time and it makes an enormous amount of storytelling sense.
Rachel is an interesting character that I don’t always like, and have been liking a lot less as the past few seasons have progressed. She has enormous talents, but huge flaws that by any right should have caused difficulty with her reaching her very lofty goals. She is talents, but often blind to her weaknesses as a performer and has little interest in constructive criticism or correction. She’s willing to work hard, but only when she’s getting positive reinforcement and being assured that she’s still the most talented person in the room. She is ambitious, but it is unmanaged and puts her in the position of rolling roughshod over even those that she considers her friends. And she is easily swayed by flattery, which often leads her to make poor decisions.
The biggest problem with Rachel’s storyline for the past several seasons is when we get build up that she is heading for a significant challenge in her journey towards her goals, only to have the magical trap door appear to save her from any real failure. She might suffer personally (when her friends grow tired of her behavior and treatment), but she has never suffered any professional setbacks until now.
I can talk endlessly about how unfairly New Directions was run, and how Rachel was so often showcased at the expense of other equally talented students. But one of the biggest injustices Glee ever perpetrated was Rachel being admitted to NYADA after blowing her audition. It wasn’t even so much that she got admitted when Kurt wasn’t (which still steams my buns), but that she was admitted at all. Rachel was at that point given a number of extremely unfair advantages over not just Kurt, but every other NYADA applicant. First with her pleading and outright harassment of Ms. Tibideaux (which was rightly addressed in Props), then with everyone and their grandmother bending over backwards to ensure that Rachel would be allowed to use the Nationals performance as a second audition, as well as pleading Rachel’s case to the Dean. She was portrayed as being more worthy of consideration than other applicants not just because she was so talented (no in dispute) but because she wanted this so badly.
Once at NYADA, she ran into the buzzsaw known as Cassandra July, the dance teacher who became the first person in ages who didn’t think that the sun shone out of Rachel’s ass and was rightly critical of not just her poor dance abilities (and to anyone with dance training, we could see just how bad she was), but her poor attitude as well. There was no sucking up criticism, however harshly dealt, and working to improve. Rachel’s focus was not to become a better dancer – it was to prove Cassandra wrong. And each time Rachel tried to show up her teacher, she was promptly schooled. For once it looked like Rachel would finally have to face someone that was only going to be impressed by Rachel actually learning, but the writers decided to give Cassandra an unexpected lobotomy and her harshest critic at NYADA became her biggest cheerleader.
Rachel did many things at NYADA that rightly should have caused her problems. Her arrogant treatment of other students and looking down on those that she didn’t see as her equals was very apparent. And in a school like NYADA where everyone was the Rachel Berry in their own high school, it would be expected that Rachel would have been smacked down for her arrogance. Instead she collected sycophants who praised her every utterance and flattered her so that they could cling to her coat tails. She quit a student film in the middle of production (over a topless scene that she had been questioning her willingness to do from the very start), which likely affected the senior who’s final grades depended on it. By any rights, Rachel should have been as liked and respected at NYADA as she was In season one at McKliney. Instead, she became the queen that everyone danced around.
FUNNY GIRL AUDITIONS
We get to the Funny Girl auditions (already laughable as Rachel was given absolutely no real competition at any stage by other credible actresses for what would have been a highly contested role), the director expressed some very real and very valid concerns over hiring Rachel. Her ability to sing and possibly even act wasn’t what they questioned (despite the poor chemistry reading she had with the male lead for the show). It was her inexperience. Could they risk a multi-million dollar Broadway revival on a complete unknown who didn’t have a single ounce of professional experience? Could they count on her not to flake out on them? It was a very real reason to not hire Rachel, but all it took was her signing a song in the diner about what a hard worker she was and the part was hers.
WITHDRAWING FROM NYADA
I’ve said before many times that the instant Rachel accepted the part that she should have taken a leave of absence. Trying to manage rehearsals for a professional production (which is more than a full time job) as well as a full class schedule at a highly competitive conservatory was bound to end in one side getting badly neglected. When Rachel was finally called out by Ms. Tibideaux for her poor class work and the half assed way she performed her Winter Critique performance (doing it a duet rather than the solo that was instructed), Rachel immediately defaulted to the request for special consideration that she had always gotten. That she has it so challenging now, being the star of a Broadway show. When Ms. Tibideaux stated that the special favors she had previously been enjoying would not be forthcoming, Rachel then made the impulsive decision to quit NYADA.
Let me make this clear that again, I get that it is impossible to balance being a full time student and the schedule of being in a professional Broadway production and that Rachel should have at least taken a leave of absence (to protect her position in NYADA until after her time with the show was done). But Rachel wasn’t quitting because she couldn’t balance the two conflicting demands any longer. She was quitting because she was being called out on her poor behavior and performance. And even after arrogantly mouthing off to Ms. Tibideaux about how she no longer needed NYADA, Ms. Tibideaux gave her the room to back peddle and reconsider her choices.
What Ms. Tibideaux told Rachel about in regards to her focus on the spotlight and not interested in growth as a performer was truth in its most undiluted form. That Rachel is talented and driven, but has no grounding and cannot take correction or criticism. The truth became clear that Rachel’s interest in NYADA was only to get that impressive name on her CV and not to grow as a performer. And the manner in which Rachel quit showed enormous disrespect for both the Dean and for the school. She completely burned her bridge there and once she walked out of Ms. Tibideaux’s office, there was no going back.
The Understudy Mess/LA
The understudy fiasco was a moment when Rachel’s inexperience and arrogance was starting to cause issues for the production. Rachel had never been willing to share the spotlight with anyone unless it was by her choosing (or if she had something to gain from it) and resisted the idea that anyone could possibly step into her shoes if needed. She didn’t see an understudy as a professional necessity, but as a threat to her stardom. And after running Santana off, she went on to prove just how hollow her protestation about her professionalism and how she would never miss a show were.
After a successful opening night, Rachel barely gave herself time to actually savor achieving such a lofty goal at such a young age (likely because it came so easily) and quickly began to set her sights on bigger things. Being a Broadway performer quickly lost its appeal when the reality of playing the same part for weeks on end started to sink in. Suddenly the commitment that she signed up for with the show became a burden rather than the enormous professional opportunity that it was. She feared being trapped now in the part that she’d dreamed of playing all her life.
All it took was a slick talking TV executive to flatter her and offer an audition for a tv show for Rachel to abandon her commitment to the show. Despite having sworn that she would never miss a performance and having driven off Santana from the understudy, Rachel judged that a TV audition was just too good an opportunity to pass up. She then lied to her boss about being sick and when he told her that she could not skip the performance, still left NY and left the show with an understudy that wasn’t up to the job (since she ran off Santana). When ordered to get to the theater ASAP regardless of how “sick” she was, the truth was unavoidable.
Now she was caught in her lies, Rachel is called out for her unprofessional behavior and called out on the carpet and warned what would happen if she pulled such a stunt ever again. Being fired and sued as well as having her professional reputation destroyed and end up blacklisted from other Broadway productions. For a very brief moment, it looked like Rachel was taking the warning seriously and that it was really hitting home just how badly she’d screwed things up… up until the offer of a TV show built around her was offered. The instant she got her phone call, whatever lingering commitment she had to her Broadway show vanished.
The season ended with Rachel having made the decision to quit Funny Girl despite being under contract (and the threat of very real consequences) and she is off to LA to achieve her next level of stardom.
So now comes time for the spoilers… we’d known that Rachel would be coming to Lima to help rebuild New Directions but the question was if she would be arriving as the big star looking to give back, or something less. Now with pretty clear confirmation that her foray into television was a “humiliating failure”, the reality of just how badly Rachel squandered her chances is coming into light. When we look at things in their entirety, Rachel has all but completely destroyed her professional opportunities at every level. She ensured that she would not be able to return to NYADA because of the manner in which is quit. She quit her Broadway show, which would have utterly destroyed her professional reputation in NY. And now her tv show is such an enormous flop that her opportunities in Hollywood have evaporated. As far as a show biz career is concerned, Rachel would be lucky to get cast in dinner theater productions in Branson.
And the sad thing is that no one is responsible for this except for Rachel herself. She has had ample warning that her ambition was running away with her and that she was burning bridges in a huge way. Kurt begged her to reconsider quitting NYADA (and ended up with being dressed down by her as a result). Her producer for Funny Girl warned her very clearly about the consequences of her behavior would be if it continued. Ms. Tibideaux warned her that she was not ready to handle the responsibilities that come with the kind of jobs that she was looking at. That Rachel did not listen and followed only her own wishes is no one’s fault but her own.
And now for once she has to deal with the very real consequences for those choices. Rachel’s decisions to ignore any advise that did not match what she wished to do, her arrogance that she was beyond correction and training, that she was so important that she could escape consequences would only carry her for so long. She kept gambling, betting the whole pot on each new bet and it was only going to be a matter of time before something just didn’t work out for her. And Rachel left herself absolutely nothing to fall back on.
The girl who dreamed big became the girl who now has lost everything. Ambition is an admirable trait, but when it becomes as uncontrolled as Rachel’s, it becomes a source of destruction. Rachel didn’t fail because she wasn’t talented enough, but because she was too arrogant to listen to the advice of others, do follow through on her commitments and to keep thinking that every opportunity was always going to work out for her. Her refusal to consider consequences or failure is what has cost her everything. And it is going to be a very humbling moment that the girl who everything believed would be a huge star and who left McKinley with all the possibilities possible awaiting her is returning two years later having burned through them all.
What must be asked is if Rachel can find it within her to rebuild what she so carelessly destroyed. Does she have the patience and determination to rebuild the professional reputation that she ruined? Is she going to have the emotional fortitude to handle the numerous rejections that she will undoubtedly face as she tries to convince producers to take a chance on hiring her? Is she going to have the humility to accept what might be very small jobs (chorus/understudy) for off-off-off Broadway productions if that’s the work she’s offered? Especially when she sees her friends who haven’t killed their opportunities moving forward with their careers.
Rachel has a long and difficult journey ahead of her to regain what she lost. I’m honestly curious to see if she can make it.