#ABOUT THE TWO SAME CHARACTERS?????

[tsrookie]

...what the actual fuck do you mean the last time I wrote fanfiction was over two and a half years ago????

[biggest-gaudiest-patronuses]

i vote that next year instead of reading Dracula we do a Jeeves & Wooster Book Club. those two never got the rabid tumblr shipping fandom they deserved (disqualified for the sheer technicality of being published a century too soon). we must correct this injustice

[aroaceleovaldez]

Nico referring to his mom as "Mama" implies he most likely at least used to refer to Hades as "Papa" and i 100% headcanon he still does but mostly in the manner of him having the entire Underworld wrapped around his finger for being the baby of the family

[bi-booklover]

repeat after me.

QUEER CHARACTERS ARE NOT PLOT DEVICES FOR STRAIGHT CHARACTERS.

[sexy-sapphic-sorcerer]

BBC Merlin being about 'magic' for 7 minutes gay

[sugarcoatednightshade]

thinking about how Humans Are Space Orcs stories always talk about how indestructible humans are, our endurance, our ability to withstand common poisons, etc. and thats all well and good, its really fun to read, but it gets repetitive after a while because we aren't all like that.

And that got me thinking about why this trope is so common in the first place, and the conclusion I came to is actually kind of obvious if you think about it. Not everyone is allowed to go into space. This is true now, with the number of physical restrictions placed on astronauts (including height limits), but I imagine it's just as strict in some imaginary future where humans are first coming into contact with alien species. Because in that case there will definitely be military personnel alongside any possible diplomatic parties.

And I imagine that all interactions aliens have ever had up until this point have been with trained personnel. Even basic military troops conform to this standard, to some degree. So aliens meet us and they're shocked and horrified to discover that we have no obvious weaknesses, we're all either crazy smart or crazy strong (still always a little crazy, academia and war will do that to you), and not only that but we like, literally all the same height so there's no way to tell any of us apart.

And Humans Are Death Worlders stories spread throughout the galaxy. Years or decades or centuries of interspecies suspicion and hostilities preventing any alien from setting foot/claw/limb/appendage/etc. on Earth until slowly more beings are allowed to come through. And not just diplomats who keep to government buildings, but tourists. Exchange students. Temporary visitors granted permission to go wherever they please, so they go out in search of 'real terran culture' and what do they find?

Humans with innate heart defects that prevent them from drinking caffeine. Humans with chronic pain and chronic fatigue who lack the boundless endurance humans are supposedly famous for. Humans too tall or too short or too fat to be allowed into space. Humans who are so scared of the world they need to take pills just to function. Humans with IBS who can't stand spicy foods, capsaicin really is poison to them. Lactose intolerance and celiac disease, my god all the autoimmune disorders out there, humans who struggle to function because their own bodies fight them. Humans who bruise easily and take too long to heal. Humans who sustained one too many concussions and now struggle to talk and read and write. Humans who've had strokes. Humans who were born unable to talk or hear or speak, and humans who through some accident lost that ability later.

Aliens visit Earth, and do you know what they find? Humanity, in all its wholeness.

[khruschevshoe]

There's just something very specific about homoerotic character-enveloping friendships from around 2010 where they're semi-aware that gay people exist but queerbaiting isn't quite a thing yet sp their relationship consumes the narrative and changes them both irrevocably forever and they end in tragedy but the ending is JUST open enough for the fic writers to wriggle into that just makes me go fucking FERAL

[revvethasmythh]

Reminded again, as I periodically am, that there's a fair number of people in the fandom that think of Nott the Brave and Veth Brenatto as two different characters, and not fundamentally the same woman. In the absolute literal sense, this is false: Nott the Brave, returned to the body of her choice and using her real name once again, is absolutely precisely the same person she was before Caleb cast Transmogrification on her. This is, incidentally, one of her main sources of angst towards the end of the campaign! A part of Nott must have both feared (and, in some ways, hoped) that when she was changed back into a halfling, she would also be a different person. That the person she became traveling with the Nein would be an easy identity to shed, which she may have hoped for because it would be easier to fit herself back into her home life with Yeza and Luc--and because it would be easier to say goodbye to the Nein if that were the case. And she feared it because she liked this person she became, no matter how transgressive society would label her for it. And she loved the Nein and didn't want those feelings to be altered.

But she didn't change. Veth Brenatto is Nott the Brave and Nott the Brave is Veth Brenatto. This was always the point. That's why it's an anagram. It's just that when she's Veth Brenatto again, she is much more focused on the why of what she's doing. Why am I still with the Nein? Why am I still adventuring? Why do I have this reticence to return home to my family? Why don't I long for that quiet, domestic life the way I once did? Her emotional journey becomes intensely personal, sometimes subtly/quietly told, and wholly about what kind of future she wants for herself and how her choice could affect those around her. Her two families become anchor points pulling her in different directions and she has to deal with that. Which is a different story than what she was telling when she was still Nott the Brave. Nott's story was much simpler--I am a goblin and I hate it and I would like to be a halfling again. I would like to be able to be with my family again. It's straightforward and it's achieved! But that's not where it ends, because she still needs to figure out a real, functional future for herself once her goal has been achieved.

All this to say, I think when people say they prefer Nott over Veth, it's important to remember that you are reacting to a certain story arc for the character, not an entirely different character. It may also pay to ask yourselves why you think they're so different. Was "Nott" funnier than "Veth" to you? Does her ability to serve as comic relief fundamentally change whether you like her or not? Did you appreciate "Nott's" themes more than "Veth's"? Or did you even notice the themes being explored in Veth's later game at all?

[poorly-drawn-mdzs]

ISAT & Dungeon Meshi swap!

[waitineedaname]

not romantic or platonic but a secret third thing (bonded pair)

[hydrachea]

All of the quest menu descriptions for Aventurine's quest "All the Sad Tales".

(... And the one from "A Walk Among the Tombstones.)

[chawliekin]

and if I said that dennis’ insistence on being the breadwinner/provider despite literally being a pampered princess who dgaf about traditional roles of masculinity in every other regard (aside from ego) is because his mom only stayed with/chose frank for his wealth and dennis is highly aware that he’s difficult to love and unable to show his emotions openly so he has to be contributing something to the relationship materially in order to feel like he’s worth staying for… and mac grew up with parents who were extremely ambivalent to him and eachother so he has to overcompensate by proving his worth at every given moment and seeking praise/validation from people (and religious icons) who will never demonstrate the same amount of dedication to him but he has no idea how else to desperately keep himself close to those he loves other than by eroding himself into something they’ll approve of… dear god they’re both exactly what the other needs — someone who can’t and won’t leave them even if they try — and they don’t even see it…

[finemealprompt]

DP x DC Prompt #32

When Danny had mentioned dungeons and dragons to his new family, he wasn't expecting all of them to latch on like they had. Hadn't realized they'd want him so desperately to DM for them.

But, Danny's in-between campaign's right now, so he agrees. Why not? Besides, it might be a good way to hint that he knows about their late night activities.

[chocmoon-latte]

The amount of posts/fanart/memes I've already seen surrounding Cooper and Hancock only proves to me that Hancock NEEDS to make a cameo in a later season. Somehow. I need them to get in a knife fight. I need them to get up in each other's faces and kiss intimidate each other.

Cooper's look was originally supposed to have black eyes and have scars identical to the Fallout 4 design, but the idea was ultimately scrapped. Boy oh boy, who else has black eyes and- HANCOCK. Hancock does. HE looks like that. This was clearly a sign from the universe.

[dollypopup]

I think it's interesting to look at the 'Mr. Bridgerton' scene as a backdrop for the eventual mirror scene. Firstly, in the fact that I think we've kind of misinterpreted it.

So many people are of the mind that scene's purpose to 'drag' Colin, but really, that scene has 3 primary functions. The first is to inform Colin that Penelope is aware of what he said of her, thus opening the door to clearing the air between them and providing an avenue for which Colin can apologize. The second is to establish the ground that they are currently on: Penelope has given up on the dream of Colin Bridgerton, in particular the perfect prince that can do no wrong, and has made it clear to him. It also creates distance between them that they will bridge.

But the third, and to me the most wrapped up in the mirror and the inner workings of their relationship is that it reveals how Penelope feels about *herself*. It's not necessarily an echo of what the ton considers her as, after all, we have a lot of evidence indicating that, for all intents and purpose, people aren't *unkind* about her, but rather that they ignore her. Audience members recognize this as Penelope's own shyness being the cause, she is often sitting off on the sidelines or not really talking to much of anyone, in the books she's referred to as the 'one who doesn't speak', and her LW business takes her away from being a character in the action of the ton to a bystander, kind of a self-fulfilling prophecy of sorts that perpetuates itself. Pen felt unseen so she became LW to have some power, but then LW herself must remain unseen and Penelope continues to be by design of her own making.

No, I think what it really reveals is that Penelope has incredibly low personal self esteem. We as a fandom has lauded that scene as her dragging Colin, saying that he's cruel and calling him Mr. Bridgerton is absolutely meant to create distance between them, but I don't think she's dragging him.

Because the person she is *actually* dragging here. . .is herself. And it is a general theme in her life. In Whistledown. Aloud. Even with Marina, when she complimented her, she assumes that she's lying. When Edwina says she's wearing a pretty dress, Penelope puts herself down and doesn't believe her, even when the compliment is genuine. In truth, Portia is not seen as being particularly unkind to Penelope. At least, speaking as someone who's mum was *awful* about my size and weight and outfits, Portia is. . .overall rather mild. She's not KIND and loving, not by a long shot, but she's also not targeting Penelope only. She's plenty mean and critical to Prudence, too, even to the point where she foists her off to her own cousin as a pawn piece. Penelope has low self esteem because of a lot of reasons, she's bullied by Cressida (I think a lot of girls are, she was pretty mean even to Daphne in S1) and her family isn't very tender to her, and she's not being pursued at every turn, but part of it is also her own perpetuation.

Listen to what she says "Of course you would never court me" "I embarrass you" "I am the laughingstock of the the ton". She sees *herself* as an embarrassment. She puts *herself* down. Arguably, more so than the ton does. She's meaner to herself than anyone else is, aside from Cressida. And honestly? Looking at Colin's face there. . .he is HURT that she considers herself this way. That she's projecting that onto him. Yes, he's hurt that he hurt her, of course he is, he never wants to hurt her. And yes, he's ashamed that he said he wouldn't court her the way he did and that in doing so, he validated her fears that she is unloved and unwanted, but also because. . .she already feels that way about herself. She's felt that way for years. And it's painful to care about someone, to see them as wonderful, and realize. . .they don't feel the same about themselves at all. I don't think Colin is out here feeling so wounded over the fact that she called him cruel and won't refer to him by first name anymore, but that he's most hurt by what she says about herself.

Because he *doesn't* see her the way she accuses. She says she never expected him of all people to be so cruel, but he feels the same way. He never expected her to be so cruel to *herself*. He wants to go somewhere private, not because she is an embarrassment, but because he wants to have a private conversation with her. Maybe assure her. Maybe explain himself. Maybe hash it out. But god Luke Newton's acting. . .he is *aching* for her. And it feels like he's going to do those lessons not in atonement for what he said (thank god) but to genuinely help his friend who thinks badly of herself. To lift her up. It's not about him at all, not about earning forgiveness, but about elevating Penelope. And that's. . .fuck, I just find that's just so heart stoppingly beautiful.

You can see, in that scene, how much he cares about her. How deeply and genuinely he adores her as a person. And just how painful it is for him to know he has validated, whether on purpose or otherwise, how poorly she feels about herself. How low her self-confidence really is. She is giving him a glimpse into the cracks of her heart, and when he sees them, he wants to reach out with both hands and make it feel better. Make her feel better.

After she says 'even when I change my entire wardrobe', he looks so fucking crushed. So 'don't say that'. So 'you really believe that?'. So 'God, I hate that you think that way'.

Because regardless of it all, he does love her. It's not romantic yet. It's not sexual yet. But he genuinely, truly, from the bottom of his heart, thinks she's wonderful. That was evident even in the 'purpose' scene. Every time Penelope opens up and reveals a facet of herself, he likes it. He likes her barbs and her dreams, he likes talking to her. He likes her. And he feels awful that he hurt her. And he feels awful that she's hurting herself. He loves her. He wants her to love herself.

And that's where the mirror scene comes in. Because the mirror scene isn't about sex, not really. Not entirely, at least. The mirror scene is about *intimacy*. The mirror scene is about being seen. Not just her seeing him, or him seeing her, but for Penelope to see *herself*. In a way, through his eyes. Because hers are biased rather negatively toward herself, which is evidenced in the 'Goodnight Mr. Bridgerton' scene, and in so many little moments we've already gotten where she's literally looking down on herself, feeling down. She doesn't necessarily *like* what's in the mirror, but he does. Because he likes *her*. And he wants to show her that he does. Show her that he finds her beautiful and have her recognize that in herself.

The 'Goodnight Mr. Bridgerton' scene is about Penelope revealing how she sees herself. The mirror scene is about Colin showing her how *he* sees her. The Goodnight scene is about Penelope thinking she means nothing to him, that he thinks of her the way she thinks of herself, that this is how everyone thinks of her, and the mirror scene is a direct response to that: No, he doesn't. No, he doesn't think she's embarrassing. No, he doesn't think she's a laughingstock. No, he doesn't think she's unappealing. And he doesn't think she should, either.

And he's going to show her that. Not just tell her, but show her. The mirror scene is so often a focus on Penelope, so much of Polin is in Penelope's focus, but approaching it from Colin's perspective and his motivations is so fulfilling, too. It's a glimpse into them in conversation, and a demonstrate of how Colin loves her. How Colin loves in general, openly and earnestly and altruistically. How he encourages her to be braver and more confident in herself, bolstering her because he just likes her *that much*. How he finds the most fulfillment and satisfaction in caring aloud. The mirror scene is a demonstration of his heart in reflection.

When Luke Newton said the first word that came to mind with the word 'Mirror' was 'Exposed', he doesn't just mean physically. He means emotionally, too.

God this couple is so fucking good.

[aconstantstateofbladerunner]

Genuinely I think at least 80% of fandom toxicity would vanish overnight if people stopped seeing shipping as the primary way of engaging with media.

I would also personally have more fun and that is the real issue here.