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.
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okay!! now that it’s not 2am for me, i’m going to post my selkie!jason todd hc’s straight up au apparently!
(uh. this was supposed to just be a list of hc’s but i got slightly,,,, carried away)
his selkie skin looks like an oversized red hoodie in his human form, and is just warm enough to help him survive new england winters.
when the summer heat becomes unbearable, he slings the hoodie around his waist
alternatively, he just coasts it out underwater. perks of living in a coastal city!
willis todd was a selkie. he used to tell jason stories of what it was like to swim through the big, wide ocean. of how freeing it felt. how different it is, from the smoggy, heavy air of gotham --- different, but both theirs, in their own right.
but to be honest, jason doesn’t remember much about the stories he was told, or really, anything about willis --- he had been in and out of blackgate for most of jason’s life, working for two-face to try and make ends meet, before dying.
what jason mostly remembers, are the warnings. don’t let anybody know you’re a selkie. don’t let anybody find your skin. they will find it, and they will use it to control you. even decades later, jason would still remember those warnings.
catherine is the one who teaches him how to swim, who helps him trial-and-error his way into putting his skin on, and learn how to make the transition seamless.
after she dies, jason spends three months as a seal, to just... exist. forget.
although jason technically lives on the streets, whenever he can;t find food, whenever he can’t find somewhere warm to sleep, whenever just being human becomes too unbearable, he spends the night as a seal. he ends up spending more time in the ocean, than on land.
that’s not to say he’s very good at being a seal --- he barely knows how to swim, has to learn how to fish the hard way.
when bruce finds jason stealing his car tires, he marvels over how nice jason’s hoodie is, soft and fluffy even after all of jason’s time on the streets, especially given the condition jason is in, ribs showing from malnutrition, and the worn and raggedy shape of the rest of his stuff.
jason is skittish when he goes to live in the manor, even after a few weeks. he always adopts an expression particularly similar to a cornered wild animal around alfred in particular, alfred, who keeps on trying to take his hoodie away, purportedly to wash it.
alfred eventually gives up on trying to force jason to wash it --- he figures that as jason becomes more comfortable living at the manor, he’ll wind up telling them why he’s so protective over that hoodie, and they can work something out then.
whenever wayne manor overwhelms jason with how big and how decadently expensive all the decor is, jason runs away, run to the ocean.
jason doesn’t actually end up telling alfred and bruce that he’s a selkie --- bruce just has a ridiculous amount of motion alarms, which are triggered every time jason ran off. he had followed jason the third night, and saw him transform.
bruce doesn’t tell jason that he knows, assuming that jason kept this a secret because he didn’t fully trust either of them. he would later learn that he was right in this assumption (a rare win for bruce in terms of emotional awareness)
except jason doesn’t fully trust either of them, even after a few months. bruce impulsively decides to do a few things --- a) tell jason about batman and robin and his crime-fighting secret identity, and b) tell jason he already knows about him being a selkie.
jason is absolutely bamboozled by the fact that bruce knows, and yet hasn’t tried to take his hoodie to control him, or to stop him from playing in the ocean for a few hours.
in fact, (under alfred’s encouragement) bruce offers to take him to the ocean during the day, so he can get “a proper night’s rest that a growing young boy such as himself would need”
jason remembers what his father told him, to never trust anyone, never let his guard down. but bruce has known about jason being a selkie for so long, and he didn’t take his hoodie or try anything. of course he can trust bruce.
and when he tries on the robin costume for the first time, it fits perfectly. just like his hoodie, his second skin. it fits just like magic.
oh, it’s a little loose in some places, the legacy of dick fucking grayson a little heavy sometimes, but he’ll grow into it. he’ll make himself, if he has to.
also, jason finds the fact that even though he’s a friggin’ selkie, his callsign is a bird (a robin, no less) incredibly ironic and funny
being a selkie is actually so useful for vigilantehood. the amount of people who talk freely, openly, and loudly about their drug smuggling plans near the ports is quite frankly, ridiculous.
honestly, towards the end of his robin years, jason remains genuinely surprised nobody catches on to him or his tactics yet. bruce is very proud.
even though jason is safe, has been safe for three years, and trusts bruce with his life, his skin, and everything, old habits are hard to break. so he has his hoodie on when he goes to find sheila.
and anyways, he wants to see if sheila is a selkie too. he’s taking biology right now, and they’re learning about punnett squares. jason’s never met another selkie before, other than willis who he barely remembers. there’s a possibility that sheila knows something, anything, so he has to try.
sheila gets a glint in her eyes when jason mentions that he’s a selkie, tells him that while she’s not one herself, she’s familiar with the myth. she has long suspected that willis was a selkie, she tells him, and she’s glad to have confirmation.
jason positively vibrates with excitement, can’t wait to ask, to pester his mother (mother!) with questions upon questions until.
until.
sheila doesn’t do anything after she gives him to the joker. she just smokes and smokes. and she doesn’t tell the joker about his hoodie, despite how it would have been much easier for the joker to destroy him that way. much more painful too.
small mercies, he supposes, in between hacking coughs that brings blood bubbling up his lips.
after he dies, his hoodie is ripped and in tatters from the crowbar, with burns along the edges from the bomb. bruce has to carefully peel it off his body.
when jason was alive, his magic kept the hoodie in perfect condition, always. even when the rest of him was covered head-to-toe in mud, or dripping sludge from the nasty gotham sewers.
bruce stares at the same hoodie, blood-soaked and mangled, so incredibly dissonant from how he remembered it on jason, when he was bright, whole, and alive.
he can’t stand it. the hoodie that was so precious to jason, that was jason, at the core of him, in this state. dirty and ripped and devoid of the magic jason had exuded.
in a moment of desperation, late at night, bruce asks alfred to teach him how to sew. he doesn’t dare to practice on jason’s beloved hoodie --- instead, he starts with the suits in his closet, grabbing the first one he sees, regardless of price. rips a hole and sews it back together over and over until he perfects his technique.
and then he washes the fabric gently, using baby fabric cleanser and scrubbing for hours upon hours until the last traces of the deep-set brown stain from jason’s blood washes down the drain.
he painstakingly sews the scraps of fabric back together with a red thread, carefully sourced to match the hoodie to try and make it flow seamlessly like it used to.
it doesn’t work, not exactly. despite his best efforts, the creases bruce had carefully sewn together are prominent and thick like scars, littering the soft fabric.
so he gives up. he hangs it over the grandfather clock entrance to the cave in his study. brings it with him every time he visits jason’s grave, because he doesn’t ever want to keep jason’s hoodie away from him, but he also can’t bear for it to get ruined.
dick visits him. a rare occurrence, these days.
dick yells at him, as he is wont to do.
these days, it feels like they spend more time angry at each other than not. dick says that this isn’t right. isn’t fair to anybody, not to alfred, not to himself, definitely not to jason. he rants, jason deserves to be remembered as he was in life, not frozen in death.
perhaps he is right. bruce is not unaware of the state of violent, cutting stasis he is in, this putrefaction of his life. and he is certainly not unaware of how it is affecting the people around him. dick. alfred. the neighbor’s kid, the one who wants to be robin.
bruce tries. not for himself, but for tim. for alfred, for dick. even for stephanie brown, who sometimes, when she smirks just right, or says something with just the right twang, he swears he can see jason in her.
he still can’t bear to put the hoodie away, because jason deserved better than to be forgotten, so he folds it gently and places it in his closet instead.
he also can’t bear to look at it for very long, so he forces himself to every single day.
it’s different from the glass case that houses robin’s tattered suit in the cave --- that, is a reminder of how he failed robin. this, this is salt in a constant, stabbing, festering would, reminding him of how he failed his son.
it was stephanie, that eventually helped him figure out what to do with the hoodie. when she was young, young enough to cry at ripped pants and skinned knees, young enough that her mother hadn’t touched the drugs yet, her mother would dry up her tears, give her a hug and a kiss on the forehead, before patching her pants up.
what not many people know, is that before crystal brown set her mind on becoming a nurse, she wanted to be an artist, first. and so she grabs her old set of embroidery needles, and stitched little designs. dogs and cats. stars and planets. tools and gadgets.
bruce doesn’t react, doesn’t even move, even as stephanie finishes her story. she hangs there awkwardly for a second, stares up at jason’s suit, waiting for him to respond, before shuffling towards the exit of the cave.
thank you, spoiler, bruce manages to croak out.
ah, yeah, she says, shrugging lightly while slouching in on herself, any time, boss. she walks out, and bruce watches her go from the reflection on the darkened computer.
that night, he takes out jason’s hoodie, smooths it out, grabs his threads, and stitches.
he stitches on constellations, argo navis, for jason’s namesake in the greek myths he had loved so much. a tiny seal, playing with beach balls. little books, with quotes on the sides. a robin, big and bold.
he tries to make it as true to jason as possible, not just in death and in bruce’s memories, but as he was in life.
jason wakes up abruptly.
he wakes up in a coffin, cold, alone, and with a gaping hole in his chest. getting dipped in the lazarus pit only made it worse, only made him all the more aware of what he was missing, all the more conscious of it.
he doesn’t bother trying to learn how to swim with two arms and two legs, instead of two fins and a tail. it doesn’t feel the same. it only reminds him of what he’s lost.
sometimes, on sleepless nights that happen more often than not, he wonders what would have happened if he still had a hoodie, still could swim.
if he still was robin.
and he doesn’t have access to the cave anymore, or to the titan’s tower, or the watchtower, and his memory of the past is still patchy and shitty in some places.
so in a burst of impulsivity fueled by the person he no longer is, he prints out photos of robin’s costume from the internet and recreates it on his own.
if his skin is gone, then fine. fine! he’s perfectly perfunctorily aware that nothing about this resurrection of his is natural. if he doesn’t think too much about it, he’ll be alright. his hoodie, his skin, that was something he was born with, a birthright that died with him.
but robin, robin was something that he helped shape. robin was something that he worked for, changed himself for.
and the makeshift robin suit --- it doesn’t fit him, not anymore. no, it feels wrong, like a child playing with their parent’s suit. or --- he realizes, perhaps more accurately, like an adult realizing they no longer fit in their favorite clothes.
and --- and --- what was the point of it all? what was the point, of trying to make bruce proud of him, of getting dick’s approval, of trying to futilely save people over and over again from the same gallery of supervillains who keep on escaping from prison?!
and what was the point of carving out a space for himself if the joker was just going to beat him out of it, and if tim drake was going to insert himself in the hole he left behind?
and then the next thing he knows he’s in titan’s tower hitting tim drake over and over again because who let him? who let him take jason’s role as a son, as a brother, as a hero? how dare he?
but when he’s slit tim’s throat and torn the ‘R’ off his chest, jason doesn’t feel any better. the robin suit still doesn’t fit. his hoodie’s still gone.
he’s starting to think it never will, not again.
sometimes, when he gets tired enough to let his mind wander, he wonders what happened to his suit.
he’s pretty sure he died with it, so either the hoodie is with the joker, batman, or... gone entirely. (it’s not like they found willis’ skin after he died. maybe selkie skins just disappear in a cloud of sea foam once they die, or some little mermaid shit like that)
it’s a cold comfort, that nobody can manipulate him now. nobody can control him --- not even batman.
(bruce had thought about it. when he first had his suspicious regarding who the red hood was, before he knew there was any trace of the son he once had left. he thought about using the hoodie, using jason’s selkie skin to coerce him, at least to stop murdering people, to stop hurting their family.)
(he would never go that far, in retrospect, or at least, he doesn’t think he could ever. to do that to jason, betray his trust so thoroughly and completely... but it would be a lie to say that he didn’t consider it.)
bruce reflects on this as jason reveals himself, the joker tied up at his feet with a gun pressed to his head, and venom spitting from his son’s mouth.
but when he lifts the batarang to hit jason’s gun, or wrist, or anything that’ll force him to drop the gun, he realizes that his hands are shaking.
and when he throws the batarang, he knows a millisecond after he’s let go, that he’s miscalculated the ricochet.
so when jason escapes that night, bruce knows he’s fucked up.
jason goes off the maps, completely. bruce doesn’t know where he is, if he’s safe, if he even made it out of the explosion that night.
it takes weeks. weeks for bruce to track jason down, from meticulously documenting the dropped threads of where the red hood was pulling strings in the gotham underworld behind the scenes, to tracking security cameras with facial recognition.
once bruce manages find where he’s staying, make sure he’s safe, he knows what he wants to do. and, he knows what he needs to do.
jason gets a package in the mail, five weeks after his disasterous meeting with batman and the joker. unmarked, unsigned, no return address.
when jason opens the box gingerly and carefully, he holds on to his skin for the first time in years. and then, and then, and then --- something right slots into place. his fingers brushed gently over the tiny spotted seal he knows he used to look like, the books he remembered ranting to bruce about for hours on end.
the robin, on the top left, over his heart, big enough to have changed him, yet small enough to not define him.
it’s not perfect. it doesn’t even fix anything, not entirely. he still fights with bruce most times he sees him, tries to punch dick in the face, steadfastly ignores tim and steph the entire time.
but it’s something. it’s something, and the next time nightwing, batman, spoiler, and robin fight a gang on the docks, the red hood gives them a helping hand before jumping back into the ocean and swimming away.
fin!
wow this got long
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Eddie starts a live stream by sticking his head into the living room where Steve is looking for something to watch on Netflix like, “Do you want to go on an adventure with me?”
Steve is reluctant to go because Eddie won’t give him any details about it but ultimately gives in because well, it’s Eddie. His reservations return when he gets in the car and Robin is sitting in the backseat, and when he asks about it Eddie just says that she’s there for ‘damage control.’
Like, “What the hell does that mean? She’s not calming and have you seen her walk? She is the damage.”
“Hey!”
“Rob, I love you but that’s true. She’s here for emotional support.”
“What does that mean?!”
Eddie tells Steve to trust him and Steve gives in because well, again. It’s Eddie.
Steve would accompany Eddie to Mount Sauron, or whatever, any day of the week. So he puts his seatbelt on and gears up the playlist they made for when it’s the three of them in the car, and they drive.
Eddie explains to Steve and to his live-stream that he’s doing an impromptu meet-and-greet at a mystery location. He’ll drop some hints over to the course of the drive and if it’s your area and you can figure it out, come out and meet him.
Steve thinks that’s actually a pretty cool idea and thinks it’s great that Eddie is interacting with his fans again after all the death-threat drama. He pokes Eddie in the arm and tells him, “That’s really cool, babe.”
Eddie flashes him a grin that doesn’t quite gel with the nervous tapping of his fingers, but that thought slips from Steve’s mind when Robin punches him in the arm and points, “Look, cows.”
Steve smiles, “I’m naming that one Kirby.”
“It looks more like a Janine.”
Other highlights of the road trip live stream include the three of them absentmindedly singing along to Iris by the Goo Goo Dolls, the three of them singing passionately to Girls Just Wanna Have Fun, rest-stop stopping so Ozzy can get out and run around for a bit, and Steve outlawing Punch Buggy after Robin and Eddie punched him in the arm three times in a row.
The whole time Eddie keeps dropping vague little hints like ‘taking it back to where it all begins’ and ‘we’re treading old territory’ and Steve initially thinks that they’re heading to the bar in Indianapolis where Corroded Coffin was discovered. So maybe he didn’t really pay attention to the rest of Eddie’s clues or maybe he’s really bad at connecting the dots because he feels winded when they come upon the Welcome to Hawkins sign.
He feels increasingly more winded when they turn down streets that have changed a lot but feel the same. He doesn’t notice how the car went quite or how Eddie keeps sneaking glances at him, just the streets they’re taking. Every turn they take that he’d taken a hundred times before.
“Eddie,” Steve breaths out like he’s just taped the pieces to a treasure map together and discovered ‘X’ was home all along. He inhales in time with the click of the blinker as they turn onto Loch Nora, “What’s going on?”
Eddie doesn’t actually answer that question until after they’re parked outside of Steve’s childhood home. He doesn’t answer until after he gets out of the car and circles the other side, and he holds Steve in his arms.
He says, “You told me that you will never work through this thing with your mom until you understand why she’s like this. If she won’t come to you, babe, then you gotta go to her. You gotta do this to get peace.”
Steve is always shaking his head no because he can’t. He can’t just walk up to her door after twenty years and asks her for an explanation. He doesn’t even know how he’d – he doesn’t –
Eddie tilts Steve’s head up until they’re eye to eye and he tells him like he can hear all those half-formed questions in his head, “You are Steve fucking Harrington, baby. You fight monsters and you save the world, and you are brave beyond words. There are worst things out there than this, so you got this. You can do this.”
“It’s not going to be easy,” Eddie continues. “But it has never been easy, and… This is it, babe. This is the last battle you got to fight and then we leave it all behind. I’m sorry I tricked you, but you wouldn’t have come if I told you.”
Steve takes a deep breath and then another, and maybe a third. He shakes the nerves out of his fingers and he hugs Eddie as tight as he can without hurting him, and he says because he knows he’ll mean it later, “Thank you.”
“Take Oz with you,” Eddie tells him and kisses him in broad daylight like he was never able to do on this street. He tells Steve that his meet-and-greet is at high school, and that Robin’s going to stay here with the car, that they’re going to Hopper and Joyce’s after, “If you need anything, call me immediately.”
Eddie stays with Robin to watch Steve walk up to the door and knock. He doesn’t move an inch until the door is answered, and then he smiles at Robin, “That went better than expected, right?”
Robin asks, “Did you end your live stream?”
“Shit.”
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