That Scene Was So Cathartic, God

A school project based on Harry Potter and the Prisioner of Azkaban

and my husband, of course

Harry, blushing in the background: Bloody fucking Malfoy

It's That Time of Year 🎄

@the-sinking-ship Your welcome love hahaha. I just saw these two and I thought of Draco asking Harry to help him quit his smoking habit (even when we all know he’ll never achieve it), and of Harry doing absolutely nothing to help him cause those sunrises on the rooftop where they share a cigarette after a whole night out partying is their favorite bonding time and I-

😭 I love them stop

FANFIC RECS MASTERLIST

(I’ll be adding the links as I go)

By ships:

✨ Drarry

✨ All golden trio ship variations

✨ Tomarrymort

✨ Hinny

✨ Sirry

By tropes:

✨ Harry meets the Marauders

✨ Harry time travels to the past / do-over / second chance at life (no specific ship)

This is not mine! Saw this on pinterest the other day and died of laughter. If you know the artist please tag them!

Ps: Found them! @frm9pm 💕

good evening folks

so

that’s a Secret History fic. It’s gay. Very gay. But then again we have some Judy and Richard moments cause Jude’s a queen and I love her

Golden Trio

✨ Comforting Romionarry Fics

✨ Less than 15k Ronarry

✨ More than 15k Ronarry

i think truly seeing tomarry as equals means they both can be the big spoon 😤

Speaking Up

After months of consideration, I’ve decided to speak up about a deeply distressing experience I had in the Drarry community. 

A little over half a year ago, I was abruptly banned from a community of Drarry writers after a vague statement accusing a member of harassment. I was never told specifically what I was accused of; nobody ever spoke to me or provided any explanation for their actions. When I tried to reach out, I was blocked. 

In a slow trickle of information provided by other people over the following weeks and months, I learned that I’d been blamed for anonymous hate comments left on a fellow writer’s AO3, based on “credible evidence”, which wasn’t shared. 

I want to be very clear: 

I did not leave these hate comments, nor would I ever leave hate comments to anyone. The person who received these comments, as well as everyone supporting their accusations, were people whose work I enjoyed privately and publicly. 

I have no idea what “evidence” anyone could have come up with to support the claim that I left those anonymous comments. Other than knowing that I'm innocent, I've also learned that you cannot determine the identity of a guest commenter on AO3. 

There’s something uniquely jarring and isolating about being falsely accused of having done something bad, without being told what it is and without being given the chance to defend myself, as well as this accusation coming from people I considered friends, in a community that prides itself on being kind and mature. 

Being branded a harasser by people I trusted has had a devastating effect on my experience in fandom, my fandom relationships, and on my mental health. It has made navigating fandom spaces challenging, and had a noticeable impact even on my real, everyday life. I’m still dealing with the fallout of what happened, half a year later. 

For months, I’ve been thinking about how to address this matter. Ultimately, I’ve decided against a more detailed recount of what happened and how it continues to affect me, as I don’t want to invite any further negativity, towards me or the people who targeted me. 

Instead, I want to be clear about who I am and how I engage with the Drarry community. I care deeply about my stories, as well as other creators and the fandom spaces we share. I’ve always strived to uplift others and to be a kind, authentic, and fun participant. As a passionate reader, I will continue doing what I enjoy: reading stories and being vocal in my support of the creators of this fandom. 

Creating and being an active part of the fandom space always went hand in hand for me, and this has been difficult for the majority of this year. As of now, I’m not sure I’ll keep writing in this community, but I’ll take every day as it comes. In the end, I'm a writer with all my heart, and if I end up wanting to stick around, I'll be happy for it. 

In speaking up about this now, I’m giving myself permission to move on. It has seemed imperative to me to understand not only the What of the situation but also the Why. However, in the end, none of my guesses hold much weight. I’ve not been able to find a sensible link between myself and the person I was made out to be. I’ve exhausted myself and my options, and am finally giving myself permission to stop trying to understand the motivations of those who accused me, and instead focus on the positive aspects of being part of this community. 

Finally, I want to say that I strongly believe in open communication. I wasn’t given the chance to respond to the accusations when it mattered the most. Still, I am, and always have been, genuinely happy to talk. To anyone who’s reading this and would like to chat, whether you know about this situation or not: My DMs are open. 

I'm so very grateful to the people who've listened to me, created new safe spaces for and with me, and cared while I did my best to navigate this situation. I'm grateful, too, to those friends who cracked jokes about this mess long before I was ready to. Thank you for being the brightest part of my fandom experience. Your friendship, as well as the incredible stories I’ve gotten to read in this fandom, will stay with me, and continue to shine brighter than anyone could diminish. 

Marge as a mirror for Petunia's class anxiety

Re-reading PoA for the billionth time (thank you insomnia), I found Marge and Petunia’s dynamic fascinating.

The few scenes of them together reveal much about their relationship. Marge, with her overbearing confidence and crass behaviour, embodies everything Petunia cannot afford to be: loud, unapologetic, and entirely unbothered by societal judgment. Petunia’s deference to Marge is not born of affection or respect but of necessity (a desperate bid to secure her tenuous position within the Dursley family and, by extension, the social status she clings to so desperately).

From the moment Marge strides into the Dursley home, the imbalance of power between the two women is clear. Marge ignores Harry entirely, treating him like a "hat stand," and greets Petunia with a brusque, physical dominance, "bumping her large jaw against Petunia’s bony cheekbone." This awkward, perfunctory exchange is far from a warm familial embrace; it is a collision of two bodies that reflects the transactional and hierarchical nature of their relationship. Marge’s large jaw (symbolic of her overbearing personality) contrasts with Petunia’s "bony cheekbone," underscoring Petunia’s fragility, both physical and social. This brusque greeting sets the tone for the rest of their interactions, where Marge’s dominance and Petunia’s submissiveness are repeatedly reinforced.

This dynamic becomes even clearer in the kitchen, where Marge’s dog, Ripper, disrupts the pristine order Petunia painstakingly maintains. Despite her evident dislike of animals (Harry observes her "wince slightly as tea and drool flecked her clean floor"), Petunia says nothing, allowing Ripper free rein. This small act of submission symbolises a broader pattern: Petunia is willing to sacrifice her comfort and preferences to maintain Marge’s approval. The scene illustrates how Petunia’s obsession with control and refinement crumbles in the face of Marge’s unapologetic intrusion.

The tension between Petunia’s forced refinement and Marge’s unapologetic crassness comes to a head during Marge’s final dinner:

"‘Aah,’ said Aunt Marge, smacking her lips and putting the empty brandy glass back down. ‘Excellent nosh, Petunia. It’s normally just a fry-up for me of an evening, with twelve dogs to look after.’ She burped richly and patted her great tweed stomach."

Here, Petunia’s exaggerated manners (such as sipping coffee with her "little finger sticking out") highlight her performance of refinement, a middle-class aspiration to maintain appearances. Marge, however, is wholly unconcerned with such performances. Her casual dismissal of Petunia’s elaborate dinner—"It’s normally just a fry-up for me"—strips Petunia’s efforts of their meaning. Marge’s behaviour (which includes "burping richly" and patting her stomach) is not a lapse in decorum but an expression of her confidence and entitlement. She does not perform respectability because she feels no need to prove it; her unbothered nature is tied to her place in Vernon’s family and the social hierarchy it represents. 

Petunia’s deference to Marge extends beyond hosting, reaching into darker territory: her complicity in Marge’s mistreatment of Harry. At Dudley’s fifth birthday party, Marge strikes Harry with her walking stick to stop him from beating Dudley at musical statues (an act of casual violence Petunia allows without objection). Years later, Marge gifts Dudley a "computerised robot" for Christmas while presenting Harry with a box of dog biscuits. These acts of cruelty are not merely expressions of Marge’s disdain for Harry but also tests of Petunia’s loyalty. By remaining silent, Petunia reinforces the household hierarchy and aligns herself with Marge and Vernon. Harry’s humiliation becomes a scapegoat for Petunia’s insecurities (deflecting attention from the precariousness of her own position within the family).

This dynamic reaches its sharpest expression during Marge’s comments about bloodlines:

"‘It all comes down to blood, as I was saying the other day. Bad blood will out. Now, I’m not saying anything against your family, Petunia—I mean, your sister was a bad egg. But it’s no wonder Harry turned out the way he did, bad blood will out in the end.’"

The qualifier, "I’m not saying anything against your family," is transparently disingenuous (as Marge proceeds to disparage Lily directly). This backhanded insult cuts to the heart of Petunia’s anxieties. Marge’s comments about "bad blood" are not just an attack on Harry but a veiled critique of Petunia’s background (drawing attention to the very aspects of her identity she seeks to suppress: her connection to Lily and her working-class roots). Petunia’s silence here is significant. Rather than defending Lily or Harry, she aligns herself with Marge’s prejudices (prioritising her need to conform to Vernon’s family over her own familial bonds). This act of complicity underscores Petunia’s internalised shame and her desperation to distance herself from the parts of her identity that threaten her constructed respectability.

Ultimately, Petunia’s relationship with Marge highlights the fragility of her middle-class aspirations. Marge’s confidence and rejection of societal judgment starkly contrast with Petunia’s anxious performance of refinement (exposing the futility of her efforts to maintain control). Petunia’s silence, her meticulous hosting, and her complicity in Marge’s cruelty all reflect the deep insecurities that define her character. Beneath the brittle facade of china cups and polished floors lies a woman desperate to preserve a respectability that remains forever out of reach.