AU where Minerva McGonagall has a little less faith in Albus Dumbledore so she does agree to leave Harry at the Dursleys.
But then proceeds to move right in next door with her wife because Albus never said that she couldn’t.
So Harry grows up with two grandmalike aunties next door, who basically finnagle him into living with them in all but name. It’s great, until he gets to Hogwarts because he keeps accidentally calling McGonagall Aunt Min instead of Professor.
The more I think about this the better it gets because suddenly a small biracial orphan appearing on the Dursley’s doorstep is less scandalous and gossip worthy in the
pasty ass white suburbia of Privet Drive, when it’s compared to the elderly lesbian interracial couple who moved in next door.
Okay this has an amazing amount of potential for Harry, but I am very filled with curiosity about Minerva’s wife.
1) Who is she? and more importantly
2) How did this marriage come to pass?
I mean I am all for Minerva McGonagall having had a wife already at this juncture in her life, but consider
1) Utter BAMF who is acknowledged to be out of everyone’s league Minerva McGonagall walking into a Ministry break room full of lady Aurors and the like and saying, “I have a child that needs looking after and a neighborhood full of prats who need scandalizing and will marry the first woman to say yes” and there is a moment’s shock and then the verbal equivalent of half a dozen bridesmaids diving for the bouquet with one clear winner who was a split second faster on the uptake and they end up in love by the time Harry is old enough to toddle properly.
2) The house next door is being sold by the daughter of its occupant who just inherited it and wants nothing to do with Little Whinging except to inflict herself on all the narrow-minded bastards long enough to get a good price for it; when Minerva walks in the door there is a mental adjustment that leaves her swooning (or maybe that’s Minerva) and after tea, dinner, and certain other activities she invites Minerva to live with her instead of selling it.
3) Minerva specifically tracks down the schoolmate she knows to be best at making stupid people regret everything, and asks her to pretend to be her wife, share a house in Little Whinging with her, and help keep an eye on Harry Potter. Both of them solidly overestimated their ability to keep the relationship fake.
it’s occurred to me that i’ve been out of classic who fandom so long that some of you doubtless have not seen it. if that is the case, here are some honest-to-god, hand-over-heart true facts about classic doctor who:
an entire fake season of the show had to be made up to make a single companion’s timeline possible
the last story of the entire run involves the master turning into a cat furry
a companion nearly gets eaten by a giant clam
there is an entire season where every villain is the master but in different ludicrous disguises. one time he summons satan
tom baker’s scarf was supposed to be normal scarf-length, but the person who bought the yarn had no idea how much yarn you need to make a scarf and bought way too much, and the person who was hired to make the scarf wasn’t told to stop. so she just. didn’t
the fifth doctor had a robot companion who had to be abruptly written off the show after the only person who knew how to operate the robot died
there is a serial where people are eaten by inflatable furniture and people complained to the bbc that it was too violent
an alien exiled to a boys’ boarding school on earth was convinced to kill the doctor by a man with a bird shellacked to his scalp. he failed so badly at killing the doctor that he became a companion instead
There was an entire six part story that was basically the miners strike but In Space. Everything was part of a plot by the Ice Warriors who wanted to start a space war and apparently pissing off miners with ridiculous hair was a crucial part of that plan. Probably still less evil than Margaret Thatcher though
The Master once dressed up as a Scarecrow and stood in a field. The Doctor and his companion walked by by PURE CHANCE and the Master took that as an excuse to drop the disguise and throw together a plan that involved causing a minor inconvenience to established history. There was no logical way he could have known the Doctor would be in that place at that time. He just felt like being a scarecrow and freaking out birds I guess
That same story has someone turned into a sentient tree
The Seventh Doctor once distracted three Lovecraftian beings from before the dawn of time with a magic show who were running a Murderous Circus staffed by homicidal clowns until his pyromaniac lesbian companion could throw him a hippies magic pendant which shot lasers at the gods and killed them.
That same story had a Space Werewolf and a British Explorer From Space
The Sixth Doctor’s companion Peri had a timeline so effing convoluted that an entire audio drama was made about how time travel had genuinely created MULTIPLE VERSIONS OF HER because it was the only way to explain all the contradictions
The Fourth Doctor painted the words “This is a Fake” behind the Mona Lisa as part of a plan to stop an alien art thief from wiping humanity from existence
The Seventh Doctor once fought a Homicidal Bertie Basset who worked for Margaret Thatcher in Space and killed people with deadly sweets. He defeated him with lemonade.
Ace literally has a girlfriend in almost every story she’s in. It’s not even subtle. In one story they literally had her and her Girl of the Week dressed in tuxes together.
Okay but seriously folks – as often as I joke about this movie stirs my loins and as weirdly popular as this text post got a while back, I wanna rap with you all about why the George of the Jungle remake is a pretty important piece of cinema.
It’s literally the only movie I can think of that is based completely around the unheard of “FEMALE gaze.” Granted, while I’m a huge movie buff I’ve not seen every movie ever made. But even so, even if there’s another example of the “female gaze” in cinema that has escaped me it’s still damn impressive that a kids movie from 1997 based on a Jay Ward cartoon from the 60’s managed to turn gender representation in media on it’s fucking ass!
First things first, let’s look at our leading lady and love interest – Ursula, played by Leslie Mann.
Let me just say that while Leslie Mann is adorable and a talented actress, she does look a little less conventional and a little more plain compared to the bombshells that Hollywood likes to churn out. Leslie, in comparison, looks much more like a real women you’d meet on the street. She dresses pretty conservatively and plain throughout the film ; Wearing outfits that are more functional than fashionable for trekking through the jungle, pulling her hair back and so forth. Not that if she was dolled up and more scantily clad it would give her character any less integrity, but can we appreciate how RARE that is in the male dominated industry of film? Just think about all the roads a film about a woman in the jungle COULD have taken but didn’t – no scenes with her clothes strategically ripped or anything! You can say this is a kids movie, intended for children and that’s why the sensuality of the female lead is so downplayed but there are PLENTY of kids movies that handle women in a very objectifying and sexualized manner despite the target audience is pre-pubescent. Like, a disgusting amount. So I don’t think “it’s a kids movie” is why the film doesn’t take ANY, let alone EVERY, opportunity to showcase the main female character’s sex appeal…
…especially considering the sex appeal of the film rests squarely on the well defined shoulders of our male lead, George of the Jungle played by Brendan Fraser in the best god damn shape of his life!
*Homer Simpson Drooling Noises*
Whenever members of the reddit community try to compare the sexualization of women in fiction to the design of characters such as Batman and Superman, I always want to just sit them down and show them this movie. Because THIS is what the female sexual fantasy looks like, and Batman and Superman are male power-fantasies. Look at him – his big blue eyes, his soft hair, his lean, chiseled physique built for dexterity rather than power. He’s wild and free, but gentle. It’s like he fell right out of that steamy romance novel your mom tried to hide from you growing up.
Hell, the whole plot seems to be designed around how damn hot he is! First, for the majority of the film, he wears only a small strip of cloth to cover the dick balls and ass. Everything else is FAIR GAME to drool over for 40 minutes. Then, after he meets Ursula she takes him with her to San Francisco just so we can enjoy him in a well-tailored suit (as seen in the gif set), running around in an open and billowy shirt along side horses while Ursula and all of her friends literally crowd around and make sexual comments about him, and my personal favorite, ditch the loincloth entirely and have him walk around naked while covering his man-bits with various objects while one of Ursula’s very lucky friends oogles him and makes a joke along the lines of “So THAT’S why they call him the ‘KING of the Jungle’…”
And yes, it’s also a very cute and funny little movie. Out of all the movies based on Jay Ward cartoons, it was the most faithful to the fast-paced humor and wit of the original source material (yes even the new Peabody and Sherman movie which honestly I thought was too cutesy-poo.) But that’s not why this movie is popular with the gay community or why we all became women in 1997. It’s just really cool that there’s a film out there where the sensuality of the female form takes a back seat for the oiled up, chiseled, physique of Brendan Fraser (in his prime that is)
One thing to add: in the scene mentioned above where the ladies are watching him in the billowy shirt running with the horses, it pans back to about 50 feet away to two guys in suits at this party looking at the women and one of the guys says, “Man, what is it with women and horses?” So not only does this movie highlight the female gaze, but it blatantly points out that western male sensibilities don’t have a clue what actually appeals to women.
ALSO
he’s non threatening
as mentioned above, he looks built for dexterity rather than power, but he’s still a 6+ foot tall extremely muscular man, and not once are you worried for Ursula when he’s with her
ALSO
let’s take a look at his rival – Lyle is a cravat-wearing trust-fund kid (who, interestingly, is into Ursula’s fortune more than her, which kind of makes this a gender-swapped gold-digger thing too). He’s blonde and Ursula’s mom LOVES him. He’s more uncomfortable and less prepared to cope with the jungle than Ursula is, in his pastels and shiny shoes.
But he talks over Ursula, insists he knows what’s best for her, ignores her autonomy. In spite of the fact that Lyle Van de Groot is a rich, educated, social climber who cares deeply about his clothing and appearances he is a point-by-point checklist of unhealthy masculinity in a way that beefy, inarticulate, uneducated George could never be. Ursula is off on her own doing her own thing and Lyle hires two FUCKING POACHERS to track her down in the middle of the jungle while she’s working (or on vacation? It’s never made clear because he interrupts her before she can explain why she went on the expedition). Lyle ignores the local guides, claiming his experience with a bridge in Maui means the bridge they’re on is safe – which leads to a significant injury for one of the guides. He then tells Ursula the guides are conspiring against him, trying to make himself and his poachers seem safe and the Africans who make up the rest of their party seem dangerous.
Check that body language! A post above points out that we’re never worried about Ursula when she’s around George. That’s because Lyle talks to her like this. Look at his aggressive lean! Look at him literally looking down at her! She’s tilted away from him in the least threatening position possible and he’s so aggressive about whatever point he’s making. When he finds her after he pushed her toward a damned lion he kisses her and she pushes him away. Want a textbook example of gaslighting? Here you go: she says “don’t get all smoochy with me! I remember what happened with that lion” and he responds “What are you talking about? I was fighting that lion the whole time – you were just so terrified you don’t remember.” Then he shoots George! And then he kidnaps Ursula and attempts to force her into marriage!
Now look at how George and Ursula interact (slightly NSFW):
Even though he’s a big strong dude and he thinks he’s doing what’s okay he lets her set the tone for their interactions. He accepts that he’s out of his wheelhouse and even if he doesn’t understand it he does what she says is culturally appropriate. He learns from her! He listens to her! Compare Lyle leaning into Ursula above to this image of George and Ursula talking:
He’s listening to her, all of his attention is on on her, but he’s totally nonthreatening. His torso is turned toward her but he’s not invading her space, his hands are clasped, he’s smiling, and she’s the one leaning into him. Look at that smile she has, look how happy she is to be listened to. Her posture in both images is vulnerable but in this one with George she’s vulnerable because she has chosen to share with him instead of because she feels threatened.
When George rescues Ursula from Lyle at the end of the film it isn’t a typical damsel situation – George doesn’t have a knock-down-drag-out fight with Lyle, he swings into a tree and offers Ursula a hand so she can reach up and save herself (and before he does it he acknowledges how much it’s going to hurt and *whimpers* and looks human and scared). And you’ve gotta remember that George rescues everybody. It’s not just Ursula – he also rescues a parasailer and gets shot rescuing Shep and Ape. He just likes helping, dammit!
AND this movie offers a perfect counter to the “nice guy” thing – Ursula starts engaged to a jerk who her mom thinks is a “nice guy” the moves on to actual nice man George who isn’t *just* nice – he’s also patient, listens to her, has his own skills and talents, is okay with being goofy, has his own social circle and isn’t totally dependent on Ursula, and looks amazing. Ursula doesn’t go with George just because he’s a *nice* guy who rescued her from an asshole, Ursula goes with George because he’s an interesting, fun person who is supportive of her different way of being an interesting, fun person. AND he’s emotionally available. Google image search George of the jungle and see how many smiles you can find, see how many open looks of confusion there are, see how much sadness you can see in George’s face. Now look for images of Lyle. His two expressions are a smirk and cartoonish fear. I know this is a cartoonish kid’s movie, but it is SO powerful that the hero shares his emotions while the villain masks every emotion but fear. Lyle doesn’t want to open up, he doesn’t want to be vulnerable, he wants CONTROL. George wants to learn, to protect people he cares about, to explore new places, to laugh when he’s happy and to be sad when he’s sad, and that he does that while being a broad-shouldered, physically powerful dude who is NOT totally self-involved is just…
Like, look, I didn’t sign on to tumblr dot com for George of the Jungle discourse, but I’m just now realizing that this movie may have done the most for destroying my conception of stoic masculinity and gender roles as a child.
Like
Damn.
2nd reblog because this is even better.
George of the Jungle discourse is definitely what I signed up to this hellsite for me thinks
Honestly, my favorite thing at the moment is all the marvel headcanons where Hela wasn’t cray-cray homicidal, and she’s an overprotective bitchy sister.
This is right after Gandalf says, “A balrog. A demon of the ancient world.”
I just love how PJ chose to cut to Legolas’ face because he is exactly who you should cut to at this moment. You need an elf to show what it really means. Other than Gandalf, the rest of the Fellowship can sense something is gravely wrong, but they don’t understand just how grave. Like Gandalf, Legolas knows the terror. He understands the gravity of what lies around that corner. He’s got a piddly little bow and he is mere steps away from a demon of the ancient world. This frame shows a kid coming to the realisation that he is way out of his depth, that this mission will take him to places he only knew to exist in legends of the Elder Days, a time long gone, barely history.
He’s probably one of the youngest elves in Middle Earth at this point. He probably grew up on stories of the balrogs, slaying the ancient High Kings of the Eldar and tearing Middle Earth apart, thousands and thousands of years ago. They are legends in old crumbling books, read illicitly by a little elfling who was kept up at night by the terrible tales.They are the monsters under the bed and the shadows in the heart of the forest. They are the beasts behind the winged hordes of hell, that older elves, who’ve seen the worst that Arda has to offer, always assured him were no more than distant nightmares, stories relegated to dust and ancient memory. Except now they are real. They are here. They are coming.
The best part is that in the books he just starts screaming when he lays eyes on it
In its right hand was a blade like a stabbing tongue of fire; in its left hand it held a whip of many thongs.
‘Ai! ai! wailed Legolas. “A Balrog! A Balrog has come!’
Legolas can be relied upon to have the correct reaction to everything.
It is not necessarily normal, or socially appropriate, or sane, but it is always 100% correct.
Congratulations, genius. You convinced your best friend, the Protagonist, not to marry the story’s Love Interest, and instead go off and have awesome adventures with you forever. But in doing so, you pissed off the Author.
After the third bandit ambush, the Unnecessary Character waits until the Protagonist falls asleep to turn an accusing look at the sky.
“Hey,” the Unnecessary Character says, jabbing a finger stupidly at the non-sentient array of stars, “you quit it. You quit it right now.”
The Unnecessary Character, henceforth known as TUC so as not to waste too many letters on them, looks rather rough. Their hair is a tangled mess from the swallows who’d mistaken the horrendous strands as nesting material.
“I know that was you,” TUC hisses. “Swallows use mud and spit to make their nests, not twigs.”
TUC is unaware that they actually look like dirt, just terrible, smelly dirt.
“This is a lot of unnecessary anger,” TUC says to the sky. “You’re the one who thought Ally needed a friend and now you’re mad that I’m being a friend to her? Josiah was a creep, you know. Maybe you think he was charming, but he’s borderline abusive. No, scratch that. He was straight up abusive.”
TUC’s main weakness has always been the inability to see the big picture. They don’t know that the Love Interest would do anything for the Protagonist, up to and including battling the dragon that would inevitable be coming to the castle.
TUC pales until they begin to resemble watery porridge. “The what?!”
Their voice is shrill and stupid. The pitch of it nearly wakes the poor, exhausted Protagonist who’s had it rough these past few nights with TUC waylaying her with their idiocy.
“Let’s…let’s swing back to the dragon later,” TUC says. They pinch the bridge of their nose, trying to ease the headache thinking so hard has given them. “Look, Josiah wanted to keep Ally in the castle, okay? Like, all the time. She’s an adventurer, dude, not a stay-at-home wife. And have you already forgotten how Josiah locked her in the dungeons when those rebel forces tried to break in? And then just forgot about her in the aftermath until she broke out?”
It’s not surprising that TUC has misinterpreted that lovely and gallant action. Ally is a lady, forced to work hard all her life to support her mean family. She needs someone to take care of her so she can finally be happy.
“Her mean–they were poor!” TUC says, missing the point completely. They direct a hideous look at the sky. “No, I’m not missing the point! Everyone in her family was worked to the bone, not just her! They all had to work insane hours just to pay taxes! Taxes, may I remind you, that Josiah and his father set!”
It’s INSANE to me how controversial romance novels are. Romance novels. Like, being openly a fan of them immediately opens you up to people constantly coming at you like “but don’t you think it’s ~limiting- and ~juvenile~ to have a genre of books with happy endings for women?”
Like.
No?
Why is it such a big deal to want to read stories where women have sex and then don’t die at the end? Jesus Christ.
Why is the concept of female characters being happy seen as less creative than female characters suffering? (Trust me, creating a world where women win in the end takes a lot more creativity and artistic vision lmfao)
Anyway, literary bros will pry my romance novels with their happy endings from my cold dead fingers.
Or die in the very beginning of the book. But no one calls out James Patterson for writing another formulaic thriller in which a woman is horrifically killed after getting laid and then some man solves her murder. Every. Damn. Time.
But hey, those romance novels where women get happy endings are so limiting, eh?
Real talk: realizing how common it is for female characters to be punished for on-the-page sex with death was a big part of my embracing the romance genre. Once I noticed it I couldn’t unnotice it. It’s everywhere. A woman having sex in literature or non-romance genre fiction is the literary equivalent of a red shirt on Star Trek.
It’s not just the sex thing, though that’s a key element. It’s that, in romance novels, the heroine gets to be cared for the way she normally would care for everyone else. It’s wish fulfillment in that her romantic partner will do emotional labor, spend a great deal of time thinking about her, or sacrifice his desires or fortune or reputation to be with her, or spend days nursing her back to health, or risking his life to save hers. In romance novels, you’ll find men taking care of children, talking about their feelings, putting effort into their appearance—even if they are adorably bad at it. Watch how many romance novel protagonists fall in love with a man who happens to be rich or handsome, but she didn’t give in until his behavior changed and he starts mentoring her, or providing for her, or being gentle toward her, nourishing her, listening to her, appreciating her… I suspect romance novels are looked down upon not for being juvenile formulaic “beach reads” but because they paint a fantasy world that leaves men feeling uncomfortable or even emasculated. But whether you’re a Midwest housewife or a big city CEO, women who read romance novels just want to read about men loving women the way women are expected love everyone else—with a nurturing and protective form of unswerving loyalty. Great sex they don’t have to die for is also a huge bonus, but the *romance* part of the novel is genuinely more about the woman being appreciated (for her beauty or spunk or intelligence at first, and then for all of her by the end).
There will be a day when I see this and I will scroll past.
Today is not that day
Plus Ron is casting his curse non-verbally. That’s very difficult and it requires training and practice to successfully cast a nonverbal spell. It’s success is determined by the amount of concentration and mental discipline of the witch or wizard. But this is Ron Weasley he likely didn’t put training and practice into casting non-verbal spells, this advanced magic comes to him naturally. The only other time we see him cast a non-verbal spell is when he accidentally made it snow in the great hall, and that was only because Lavender was glaring him down after he said Hermione’s name while he was unconscious in the hospital wing. He felt crappy and his emotions were so intense he unknowingly made it snow. Here he’s trapped in a muggle cafe, with his best friend and the girl he loves. He’s probably scared, and angry but most of all protective. He wants to defeat these Death Eaters without anything happening to his team. His emotions are intense again and that allows him to cast a powerful non-verbal spell. No, not even a spell, a curse. We’ve seen Hermione cast non-verbal spells loads of times but even here she says the curse to ensure it’s potency. Ron is concentrated and disciplined enough in this moment to curse a Death Eater without any words at all.
and isn’t his “eat slugs” curse also non-verbal? because I doubt that “eat slugs” is the actual incantation for that curse and actually if I recall correctly from the book, he says “eat slugs, Malfoy” in an “eff off” sort of way but his wand isn’t even out. then a minute later when Malfoy calls Hermione a Mudblood, he takes out his wand and it backfires on him. and he’s TWELVE when he does this! it’s another moment where his emotions are running high because his friend has just been called the most awful word he’s ever heard.
Ron is a great wizard, so much of his magic is natural and intuitive and he doesn’t have to think about it the way Harry and even Hermione do. it’s just a part of him.
AND NO ONE GIVES HIM ANY FUCKING CREDIT ITS LIKE “OH LOOK ITS THAT STUPID WEASLEY AGAIN” YOU KNOW WHAT FUCK YOU BITCHES RON FUCKING WEASLEY IS A BOSS ASS BITCH AND YOU CAN JUST NOT! *straightens robes* But us Ravenclaws are still cool right? Sorry for my outburst professor McGonagall.
This is the kind of quality content I crave!
I am down for Ron being a more powerful wizard than anyone, including Molly, ever gave him credit for.
I AM DOWN FOR ALL OF THIS! RON WEASLEY IS SUCH A GOOD WIZARD AND NO-ONE EVER GIVES HIM CREDIT FOR IT!
This actually fits very well into a fan theory that I read once. Basically, the Weasley family are secretly very talented at magic, and very sensitive to it as a result.
That’s why Ginny was so strongly affected by the diary, and why Ron was later so affected by the locket. Even in Goblet of Fire, JK Rowling mentions specifically that Ron has the most trouble shaking off Moody’s imperius curse. He also seems to be particularly susceptible to Fleur’s Veela powers.
This could also explain why Fred and George were able to create a swamp that impressed even Flitwick, before they even finished school, how Percy got top marks in all 12 of his OWLs and why Charlie and Bill do so well with magical creatures.
Arthur Weasley enchanted a flying car, which looks like it would have been very complex, and Molly Weasley regularly performs nonverbal spells— INCLUDING A BLOODY KILLING CURSE. “Not my daughter, you bitch!” is not an incantation.
The whole Weasley clan is actually incredibly in tune with magic and nobody ever notices.
But what this means is that, not only is Ron a very talented wizard, but it also suggests that his abandoning Ron and Hermione in Deathly Hallows (which is the thing that is most often held up as a reason to hate Ron) wasn’t just him being selfish and jealous.
He wasn’t imagining it, he actually was affected more by the horcrux that Harry or Hermione.
And I’m only saying this because no one in the previous posts has out-and-out mentioned it: The Weasley family is one of the Sacred 29 families – purebloods stretching back centuries.
Not to be too Slytherin about it, but I’m thinking that counts for something too.
The Slug Vomiting Charm he uses in second year is indeed a nonverbal casting, as the incantation for it, at least according to the wiki, is Slugulus Eructo.
So yes, Ron managed to nonverbally cast a hex at age twelve, that, despite it backfiring on him, worked exactly as it was supposed to. With a broken, hand-me-down wand that was never quite right for him.
Step up your damn game, Harry “But I Am The Chosen One” Potter and Hermione “I’ve Read The Entire Library Twice” Granger.
Steel Phoenix Studios 