Harry and the marauders
#lets pretend everything that happened did not happen, that harry would have his parents. godfather and friends with him, lets pretend this is harry’s graduation and this is his family portrait after all the students celebrated their graduation by throwing food at each other. hermione would not approve because it’s a waste of food and it took many hours of work from house elves, but she smirks and keeps throwing food at the others, while ron throws food and eats it too. and neville slipping with pumpkin pie, while his parents take pictures of him because they are proud of their son, and seamus somehow managed to blow food up. and luna would be chasing gnomes who try to steal food from the grounds. and ginny would be like what is this fuckery. why am i not a year older. gred and forge would be marketing their products like it’s nobody’s business. and cissa would be pinching draco’s cheek congratulating him while lucius palms his back because that’s who he is. minerva and albus would be looking at the students from a balcony like royalty, snape would be trying to talk to lily without having to say hi to james and sirius. and at the moment of the picture james and sirius would be trolling remus because this young witch with pink hair is flirting with him, because they know he digs her, he just cant look away. and and and and #i have a lot of feelings about hp
A C T I N G
Now, let me just say right off the bat that there’s absolutely nothing wrong at all with Rose and Martha’s reactions when they receive a key to
Sexythe TARDIS. Were I ever to be in their shoes (oh god yes PLEASE), I would probably be a whole lot less cool and graceful about it as I’d be messily puking rainbows all over the Doctor’s face instead. Actually, I love the moments when Rose and Martha get their keys, as they’re both mined for such powerful emotion - for Rose, it represents the Doctor’s willingness to commit to travelling with her by his side; and for Martha, it serves as recognition of how much she deserves her place in the TARDIS. For both of them, it’s a romantic, thrilling, huge moment. In a way, it was about the Doctor choosing to come down to earth, to their level, by giving them a promise of so much more to come in the form of a single silver key. The key is the Doctor’s stamp of approval - welcome aboard, I only take the best and you’re it.
With Donna - fiery, sassy, no-nonsense Donna - this exact same moment is played for laughs, in a neat inversion of what happened with her two predecessors. Here, it’s the Doctor who’s coming close to flitting away on a flight of fancy and emotion. It’s “quite a big moment”, he declares cheerfully, and it’s adorable how giddy he is - he’s not bestowing his approval upon Donna; oh no, the Doctor is the little boy who’s eagerly seeking the approval of his new best mate. Of course, it’s hilarious when Donna slaps him down quite as sarcastically and pragmatically as she does. But that doesn’t make the scene any less emotionally truthful; in fact, I think it says really quite a lot about Donna’s relationship with the Doctor. The Doctor grounded himself when he gave Rose and Martha their keys… but when he tries to give Donna hers, it’s Donna who grounds him, balancing out his excesses and extremes as she does throughout her time in the TARDIS. In The Fires Of Pompeii, she reminded him of the tiny details - the individual lives and people who would be lost even as he saves others. Here, in The Poison Sky, she reminds him of the big picture and the immediate danger at hand… there will be time for sentiment later, she says, after we save the world. (Which they do, quite promptly, and also rather frequently thereafter.)