#like we talk about lucy and every historical woman

[vergess]

even more appropriate that mina's name (wilhelmina) means vehement/resolute protector

I fucking ADORE the names in this book, tbh. Bramthaniel really said 'Hold on let me Maximize The Symbollism' for every one of his beloved OCs.

Just off the top we've got:

Lucy: White, light, bright. References the fall of Lucifer and positions her as a star on the cusp of both day and night, prior to her turning. Shares meaning but not etymology with Gwenhwyfar/Guinevere.

Arthur: A bear of a man, noble and powerful, but condemned to mourn the betrayal of the woman he loves through no fault of hers or his, but rather, the intervention of a foreign man. So, that's literally just King Arthur.

John/Jack: There are a lot of Bible guys named John but I've decided to use John The Baptist the because he was also a weird cutting edge philosopher hermit who primarily existed to prop up other figures in Christian mythos, but unlike a lot of them, we know this particular wonk existed because there are a lot of legal document about his execution. Unlike the proverbial Jack Of All, a mythological figure who had every imaginable skill and constantly escaped traps of his own making by the skin of his teeth (see also: Jack Seward's Weirdly Erotic Relationship With Candles)

Jonathan: Bro is fully named after The One Biblically Acceptable Gay Man, and spends his arc clinging to the divine spark of his love for Mina, certain of its purity in spite of everyone and everything around hem screaming that his love is profane. This shit writes itself.

Mina: Not just a protector, but a warrior-protector. And not just a warrior protector, but the literal contemporary QUEEN OF VAN HELSING'S HOMELAND AT THE TIME. I know we all keep calling her a Queen, but I want us to really remember that Bramothy and VH were calling her a Queen unironically.

Abraham (VH): Okay this one is by far the funniest because unlike the rest, the symbolism here is about as subtle as a 14 year old trying to name their Naruto OC using Google translate. Setting aside Bram's own name and his father's name and VH being physically described as looking like Stoker. Abraham is, of course, The Old Dude From Which The Major Global Religions Descended. Hence him being older and more informed than everyone else, but also talking with a degree of nonsensical allegory that anyone who had to translate ancient texts into modern language growing up knows is the fucking worst even when you DO finally understand it. Also this is probably a factor in the weird obsession with 'his descendants' in pop culture.

Van Helsing: A foreigner of a foreigner, his name is Dutch for 'dude from Sweden' but specifically means 'dude whose family came from a particularly barren part of Sweden like 8 generations ago.' He's a real Immigant Success Story, is old Abe.

But we can do better still.

See, at the time that was more or less everything Abe's surname had going in (as far as I'm aware while not doing any additional research).

But today, the Anglosphere does know one more thing about Hälsingland, Sweden.

See, the capital* is REALLY popular this time of year for their.

Ritual bonfires.

You might say he's a stubborn old goat. Maybe even a criminal one!

*Hälsingland is a historical district folded into the modern county of Gävleborg, of Gälvebocken fame.

[rockislandadultreads]

Read-Alike Friday: Bitch by Lucy Cooke

Bitch by Lucy Cooke

Studying zoology made Lucy Cooke feel like a sad freak. Not because she loved spiders or would root around in animal feces: all her friends shared the same curious kinks. The problem was her sex. Being female meant she was, by nature, a loser.

Since Charles Darwin, evolutionary biologists have been convinced that the males of the animal kingdom are the interesting ones - dominating and promiscuous, while females are dull, passive, and devoted.

In Bitch, Cooke tells a new story. Whether investigating same-sex female albatross couples that raise chicks, murderous mother meerkats, or the titanic battle of the sexes waged by ducks, Cooke shows us a new evolutionary biology, one where females can be as dynamic as any male. This isn‘t your grandfather’s evolutionary biology. It’s more inclusive, truer to life, and, simply, more fun.

Eve by Cat Bohannon

How did the female body drive 200 million years of human evolution

Why do women live longer than men?

Why are women more likely to get Alzheimer’s?

Why do girls score better at every academic subject than boys until puberty, when suddenly their scores plummet?

Is sexism useful for evolution?

And why, seriously why, do women have to sweat through our sheets every night when we hit menopause?

These questions are producing some truly exciting science – and in Eve, with boundless curiosity and sharp wit, Cat Bohannon covers the past 200 million years to explain the specific science behind the development of the female sex: “We need a kind of user's manual for the female mammal. A no-nonsense, hard-hitting, seriously researched (but readable) account of what we are. How female bodies evolved, how they work, what it really means to biologically be a woman. Something that would rewrite the story of womanhood. This book is that story. We have to put the female body in the picture. If we don't, it's not just feminism that's compromised. Modern medicine, neurobiology, paleoanthropology, even evolutionary biology all take a hit when we ignore the fact that half of us have breasts. So it's time we talk about breasts. Breasts, and blood, and fat, and vaginas, and wombs—all of it. How they came to be and how we live with them now, no matter how weird or hilarious the truth is.”

Eve is not only a sweeping revision of human history, it’s an urgent and necessary corrective for a world that has focused primarily on the male body for far too long. Picking up where Sapiens left off, Eve will completely change what you think you know about evolution and why Homo sapiens has become such a successful and dominant species.

The Exceptions by Kate Zernike

In 1963, a female student was attending a lecture given by Nobel Prize winner James Watson, then tenured at Harvard. At nineteen, she was struggling to define her future. She had given herself just ten years to fulfill her professional ambitions before starting the family she was expected to have. For women at that time, a future on the usual path of academic science was unimaginable—but during that lecture, young Nancy Hopkins fell in love with the promise of genetics. Confidently believing science to be a pure meritocracy, she embarked on a career.

In 1999, Hopkins, now a noted molecular geneticist and cancer researcher at MIT, divorced and childless, found herself underpaid and denied the credit and resources given to men of lesser rank. Galvanized by the flagrant favoritism, Hopkins led a group of sixteen women on the faculty in a campaign that prompted MIT to make the historic admission that it had long discriminated against its female scientists. The sixteen women were a formidable group: their work has advanced our understanding of everything from cancer to geology, from fossil fuels to the inner workings of the human brain. And their work to highlight what they called “21st-century discrimination”—a subtle, stubborn, often unconscious bias—set off a national reckoning with the pervasive sexism in science.

Brave the Wild River by Melissa L. Sevigny

In the summer of 1938, botanists Elzada Clover and Lois Jotter set off down the Colorado River, accompanied by an ambitious expedition leader and three amateur boatmen. With its churning rapids, sheer cliffs, and boat-shattering boulders, the Colorado was famed as the most dangerous river in the world. But for Clover and Jotter, it held a tantalizing appeal: no one had surveyed the Grand Canyon’s plants, and they were determined to be the first.

Through the vibrant letters and diaries of the two women, science journalist Melissa L. Sevigny traces their forty-three-day journey, during which they ran rapids, chased a runaway boat, and turned their harshest critic into an ally. Their story is a spellbinding adventure of two women who risked their lives to make an unprecedented botanical survey of a little-known corner of the American West at a time when human influences had begun to change it forever.

[yallemagne]

Hmm Mina studying criminology independent of any usefulness to Jonathan (she kept up with his studies on property law instead, and like you said he's a solicitor), kind of reminds me... Jonathan also has no use for ghost stories. Mina though spends paragraphs talking about every spooky legend about her vacation spot. Not every young person researches about girl ghosts in ruins, and invisible mourning bells for their seaside summer break. (Now I also recall she reads an old poem about a buried girl while there? Marmion?). Further, she pokes old men there to tell her more about those. (And gets "oh don't be scared it's all fake! not for young girls like you!" but she keeps pestering). When Mr Swales told her that she and Lucy sit upon a suicide grave, Lucy jumped, disturbed (but resolved to remain there anyway because she likes the seat), while Mina didn't.

Also, she talks of the Vikings sacking a town there during a specific invasion, and this tracks her knowledge about Dracula's historical battles... though I can't decide if the latter is a newer research. But it does show she has an interest in old wars.

So, I feel that maybe she has an affinity for darker subjects in general, both legendary and real life?

um that got long but your post gave me food for thought sorry

Don't be sorry for the long ask. Do you know how long I've been waiting for people to come into my inbox? I have been starved.

Jonathan has no use for ghost stories, but we do see him express curiosity about the local folklore on his trip... too bad no one wanted to talk much about it. Mina's interest in ghost stories is definitely a mix of an affinity for the macabre and her desire to be a lady journalist. She knows Whitby has a lot of rich folklore, so she reasons that the most obvious subject to tackle in her interviews is that.

Marmion! So, I will have to read this poem. I just read the summary so far. Lord Marmion was lusting after this woman, Clara, so in order to gain access to her, he and his nun mistress, Constance, framed her fiancé, Ralph, for treason. Constance hoped playing wing woman would get Marmion to like her more, but he ditched her once Clara joined a convent to escape him, and Constance was walled up for breaking her vows. She got the last laugh when she revealed Marmion's deceit, and Marmion died in battle. It's such delicious drama. I'm sure you could project Dracula onto this poem the same way you can with the Ballad of Lenore (*cough cough* Jonathan is Clara, Mina is Ralph, Constance is Renfield, Marmion is Dracula-- *gets shot*).

Sorry for that aside lol. Mina only briefly mentions it: "Right over the town is the ruin of Whitby Abbey, which was sacked by the Danes, and which is the scene of part of "Marmion," where the girl was built up in the wall.", and I'm like "honey tell us the whole story, would ya?"

Her knowledge of Dracula's military conquests comes from Jonathan's journal, where he interviewed Dracula about his family lineage. That is supplemented with Van Helsing's research done with the help of his friend Arminius. That was not really a personal interest thing, it was homework for killing Dracula.

But once again! Student of life. I don't know if I'd say she believed in any of the ghost stories before (hence her not being worried about the unconsecrated grave of the suicide victim, but Lucy, who is more sensitive, jumping from the seat), but she certainly has an interest in them for how they shape the world around her. She doesn't care for Mr. Swales trying to assure her that none of it is true because she isn't inquiring about the ghosts out of apprehension, she's asking because spooky legends are a part of history! They shape the cultures they are born from and inform the attitudes of the people who come from those cultures.

little bit of spoilers, read November 1:

Later on, we see that she doesn't seem very interested in Eastern European folklore. Now... a lot was going on at the time, but she does rather patronizingly call the locals superstitious. That could just be denial talking. The landscapes? Lovely. The people? Quaint. Their beliefs? Ohhhh, they're soooo irrational, psh. They acted like I was becoming a vampire right in front of them.

She's intrigued by English folklore and history, but she turns up her nose a bit when it comes to the mythology of other places... to be expected from a Victorian, but sad.

[alliluyevas]

I mentioned earlier that a lot of Young family members are scattered around the Salt Lake City cemetery in a few different sections, so I thought I'd share the graves for some of the women I don't know as much about in a post together. Aside from Emily Partridge and Zina Huntington, who I'll make a separate post for in a bit, these are all the wives of Brigham Young I located in the SLC cemetery (ie, not buried with him in the family graveyard). I put the pictures of both the graves and the women in chronological order of when they married into the family, which also (roughly) tracks with their age.

Augusta Adams Cobb (1802-1886) lived in Boston with her first husband and nine children before being converted to Mormonism by Brigham Young when he was a missionary in Massachusetts. She ended up leaving her first husband and her older children to move to Nauvoo with her two youngest and become Brigham's second plural wife. They were about the same age and she did not have children with him. The marriage proved rather fraught, as she wrote him numerous letters complaining with quite caustic language about him paying more attention to younger wives. They did stay married, although he eventually agreed to allow her to unseal from him and seal herself to Joseph Smith for eternity. Twenty-five years later, her son James's ex-wife Mary van Cott ended up becoming Brigham's second-to-last wife. When Augusta died, she was initially buried according to her wishes with Brigham, but her daughter Charlotte, who had left Mormonism as an adult, later had her exhumed and she is now buried with James, Charlotte, and Charlotte's husband. You'll note that Augusta's current gravestone does not mention Brigham Young at all--I'm assuming that was probably Charlotte's choice as well.

Harriet Cook (1824-1898) (identified on her grave as Harriett C.) was Brigham Young's third plural wife and the last woman he married before Joseph Smith's death. I don't know a lot about her except that virtually every reference I've found to her involves other women talking about her being difficult to get along with and irritable, though there's also references to her being brave and intelligent. Apparently, she told a sister-wife that she was "only a proxy wife" and Brigham didn't love her. I don't get the sense that she was a particular favorite either, so I tend to interpret her behavior as someone who was unhappy with her situation trying to "punch down" on wives she viewed as being worse off than her. She had one son, Oscar, who she is buried next to.

Clara Decker (1828-1889) was the younger sister of Lucy Decker, Brigham's first plural wife. She married him in 1844 when she was fifteen. I don't know a lot about her life or personality, unfortunately. Her obituary refers to her as "of a very modest and retiring disposition". Clara, like many other women whose life was primarily in the sphere of the home and who did not leave much if any personal writing, is hard to find traces of in the historical record. (Very much women's historian and fellow Mormon Laurel Thatcher Ulrich’s "well-behaved women rarely make history"). As her gravestone and much of the contemporary writing I can find about her tells us, she was one of three women who accompanied the vanguard pioneers into the Salt Lake Valley in 1847. The other two women were wives of Heber Kimball and Brigham's brother Lorenzo Young. Again, we don't know what Clara thought or felt about this journey, but I imagine traveling to an unknown new home as a nineteen-year-old in a company of over 140 men led by her husband must have been a bit of a strange experience. She is buried next to her daughter Jeanette and near her two other daughters. She also had two sons who did not live to adulthood.

Eliza Burgess (1827-1915), unfortunately, I do not know a lot about either. Eliza immigrated from England to Nauvoo with her family and worked in the Lion House as a servant before marrying Brigham at age 25. Her stepdaughter Susa Young, who wrote a fair amount about her childhood in the Lion House and is one of the only sources on the personality of some lesser-documented wives, described her as a "capable, efficient housewife" and said that "her one release from what might have been corroding jealousy in a lesser soul was driving labor", which is frankly pretty depressing. Susa also described Eliza as a doting mother to her only child, Alfales. As an adult, Alfales was editor of a Mormon-critical paper and was one of two children of Brigham Young who I know outright left the church. Eliza lived with him after being widowed until her death, and he is buried next to her. She was Brigham Young's last surviving wife. Interestingly, there's a photograph taken of Brigham's other seven living wives in 1899, but for some reason Eliza was not included (maybe because of her son's outspoken religious views?)

Harriet Barney (1830-1911) first married at the age of sixteen as the third wife of 31-year-old William Sayers, though their first child was not born until about five years later. She left Sayers after four children and remarried Brigham Young in 1856. (Though both her marriages were polygamous, single mothers, whether divorced or widowed, were disproportionately likely to be in plural marriages if they married again.) She had one more child, Phineas Young, who she is buried next to. Susa Young described her as a "calm, peaceful soul" who was friendly with her sister-wives even though she did not live in the Lion House, which was already fully occupied by the time she married into the family. Her obituary implies that she had suffered from some sort of chronic illness for 40 years by the time of her death.

Finally, we have the third woman named Harriet that Brigham Young married, generally known to historians as Amelia Folsom--she started going by her middle name after her marriage to distinguish herself from the two other Harriets. Harriet Amelia (1838-1910) married 61-year-old Brigham in 1863, and was his undisputed favorite wife until his death. She was the oldest child of church-employed architect William Folsom, apparently a talented pianist and singer, described by contemporaries as charming and fashionable, and frequently accompanied her husband to dances and the theater. As he aged and developed various health problems, she also provided him comfort and companionship at home, including at his home in southern Utah, where he spent the last several winters of his life with just Amelia. She seems to have been liked by some of her sister-wives and resented by others. She never had children--I'm guessing she was not able to, because he had children with other women after their marriage. Still in her thirties when she was widowed, she was left a significant bequest. She ended up spending some time living with her elderly father as his caregiver (like her husband, he suffered from arthritis), and then purchased her own home, where she taught piano lessons and entertained until being disabled by a stroke three years before her death.

The only one of these women who left much of anything in her own words was Augusta, so there's definitely a process here of guesswork when you try to reassemble what these women and their lives might be like, working off the reminiscences of co-wives, stepchildren, children, and public memory.

[rotzaprachim]

Scientific analysis has proven that Rufus, Lucy, Wyatt, Flynn, and Jiya are in fact ALL bi, time travel belongs to the bisexuals

[americangirlstar]

Now that both Courtney books are out and I’ve read and processed them both, I do want to say that I think they’re the least well-written of any of the AG books, but not through any fault of their own- let me explain.

(Note that for this discussion I’m ignoring the Doylist criticisms- Courtney and 3/4 of her friend group being white again, the lack of gay discussion in-text in regards to the HIV crisis, etc. These are valid complaints and concerns, but not what we’re talking about right now.)

The Problem with the Current Book Length

I think the main problem with Courtney stems from the fact her books are so short. American Girl has literally been doing the stupidest things in regards to their books lately, almost as if they’re trying to sabotage them on purpose. First they remove illustrations in 2015- when their target audience is about nine years old. I don’t know about you, but when I was six and getting into American Girl, the illustrations were the highlight for me. Not because I had no attention span and loved pretty pictures, but because it showed me firstly what the girl’s life was like, whether it be 1760s wilderness or 2001 Chicago. It was like stepping into their world, really helping you get into their heads, which was basically what the dolls were supposed to do, to let you know that girls like you exist throughout time and space.

As well as that, the illustrations were free advertisement. I can’t tell you how excited me and my sisters were as children to go to the American Girl place and look at the doll displays, shouting that that’s the dress Felicity wears to the ball! or look, Josefina’s goat looks exactly like the book! AG cut that from 2015 to 2020, as if they were trying to appeal to an older audience- while at the same time changing all the doll outfits, accessories and marketing to appeal to a younger demographic.

Now, this isn’t about the illustrations, as Courtney got those- it’s about what they did to the historical characters after the Illustration Outrage™ happened. See, they’d condensed the historical six-book format into two books- not necessarily a bad idea, parents would be more likely to buy two books for their kid than consider buying six. However, they then claimed that if they put illustrations back, they would have to abridge the books- literally my nightmare.

First of all, American Girl, we know for a fact you can fit all six books plus illustrations into ONE VOLUME, let alone two. You’re just being cowards here and trying to nerf your own stories for... some reason.

So that meant a lot of important things got cut- Rebecca’s Chanukah story, Melody’s cousin’s house search, Maryellen’s Christmas adventure... all things important to the girls’ histories and character.

The Problem with Courtney’s Writing

Now, Courtney was the first doll to be released after the abridging began, meaning her books were released, in their entirety, just as short as the abridged stories. So it basically means she gets four books while the others get six- and unlike the others, Courtney doesn’t even have mysteries or short stories to pad out. (And honestly, looking at her book’s amount of content, I’d even argue that she basically got two while everyone else got six, but I digress.)

The problem with her books isn’t that they have an author writing them poorly (I really feel like her author was doing the best with what limited time she had), but in how cramped American Girl made them. Because, well, Courtney has to deal with a lot in such a short amount of words.

Let’s compare her to Julie, for instance- Julie pretty much has a new 70s thing every book. In order: feminism, rising divorce rates, San Francisco’s Chinese culture, environmentalism, the country’s bicentennial, anti-bullying and deaf acceptance. And adding to this, we also have her own personal journies through her parents’ divorce and move, her basketball team, her friendship with Ivy (and later Joy), overcoming her fear of horses, student council, detention... It’s a lot, and yet her books don’t feel rushed or forced at all. It’s just a year in the life of a girl going through a lot of new and sudden events, and how she grows and changes throughout them. She may not be as deep a character as Addy or Kirsten, but not every girl goes through the trials and tribulations they do, and it’s a good series overall.

Courtney, meanwhile, does feel rushed and forced, because of the short timespan. Instead of fitting everything into a six-book format- or even at two-book format that is the same length and content as the six-book- everything has to be fit into two short books.   Everything Courtney has to cover includes the topics of divorce and stepfamilies, feminist and technological advancement, the Challenger explosion, the HIV crisis, Hands Across America, and the founding of Pleasant Company. And in Courtney’s own journey, she has to cover her learning to stand up for herself, her relationship with her stepsister and Tina’s own character development, her mother running for mayor and how that affects her, how much she misses her Dad after he moves, her friendship with Sarah (note on that later), her basically getting hate-crimed after standing up for her friend... that’s a LOT of stuff, and I didn’t even include the non-AG 80s product placement they shove into her collection.

But without the longer format, everything is pushed together to its detriment. Tina’s development and Maureen’s mayoral candidacy are two plotlines that are literally dropped and almost completely ignored in the second book. The Challenger and HIV issues were handled decently, but the Challenger only lasted a few short chapters, and the HIV topic was not as informative as it could be, leaving out several things like Reagan’s refusal to treat it for so long, and its effect on the gay community. Honestly, the HIV scare was more shifted to focus on the mob mentality of a new and scary disease- which, while needed right now, also ignores many of the bigotry-related reasons it became an epidemic. Pleasant Company’s inclusion feels forced in, and I think was the only resolution she had to her Dad plotline?

And don’t get me started on the Sarah plotline- every Girl of the Year since Kanani- sans Isabelle and Luci- has had the story of “oh no I’ve been ignoring my friend and now they’re mad at me :(” and it’s SO old. Seriously, I counted the contemporary dolls that have had that storyline, and it’s thirteen*. Thirteen times we’ve covered this issue- almost all of it in quick succession- and now we have to deal with it in a historical character book while much more important things are going on! Yes, it sucks when a friend ditches you while you’re being attacked and bullied for something you’re standing up for, but once again, with how much is happening in such a short book, it just feels like a forced-in plotline that we’ve seen a billion times, and with their falling-out happening mainly due to the attention Courtney was given Isaac, it serves to make Sarah seem closed-minded at best and bigoted at worst- it’s clarified that she’s not, she’s just scared and upset with Courtney, but when you put those events so close together, it leads the reader to lump them together and get the impression that, you know, Sarah is a worse person than she is.

*Full count: Nicki (book 2), Chrissa (book 2), Kanani (2), McKenna (1 iirc?), Saige (both books), Grace (2), Lea (3), Gabriela (1 and 3), Tenney (2), Z (1), Blaire (1), Joss (1) and Kira (1).

It’s a bit weird, too, that Courtney’s... what’s the word? Vibe? with her how her story is written and marketed Is closer to the Contemporaries than the Historicals. Am I the only one feeling this? My best explanation for it is that the author, Kellen Hertz, had only written contemporary books for American Girl before- the third Lea Clark book and all four Tenney Grant books, both of which contained the Friendship Issues™ plot. I’m not at all saying she’s a bad author- I honestly love the way the Tenney books are written- and I’m not saying she couldn’t write a historical book, but it’s clear American Girl didn’t ask her to change up her style or content from what she’d done for them before, as well as giving her way too much to cover in such short books.

Conclusion

Honestly, this conclusion should be obvious- American Girl needs to expand their books again. Whether they simply allow the books to be unabridged, or go back to the six-book format, Courtney's books are too cramped to tell an effective story, let alone the poor abridged girls.

The other girls were given six-book length, so if they went back to that length or format, Courtney would have to be rewritten, at least a little- and that’s okay! There’s a lot of things that could use expansion or connection, such as her Summer trip with her Dad that was given basically one sentence in the text. Her growth with her stepfamily could be acknowledged- and honestly? I think that if these books were expanded, her mother’s mayoral arc should either continue through the books, or Maureen should become mayor before the book 2 arc. I’ve mentioned this before, but having Maureen as mayor (or even still a candidate) would put a lot of pressure on Courtney to be perfect so that nobody can say “look at how awful this woman is for doing politics instead of raising her family right”- which means that when the Isaac stuff happens, it has even more stakes for Courtney and her family. Does her Mom still support her with her own reputation on the line, and what does that say about Maureen’s character, how does it affect Courtney and the D’Amicos... that’s all fascinating stuff that was completely missed out on.

And if she was turned into a six-book format- honestly, here’s how I’d do it, just off the top of my head. It would involve a bit of event shuffling, but honestly I think it would work!

Meet Courtney - pretty much the setup for everything happening, her starting to get her Crystal Starshooter plans and her mom’s campaign beginning.

Courtney Learns a Lesson - her relationship to Tina, culminating in the Challenger incident.

Courtney’s Surprise - we move the founding of Pleasant Company over here, since Molly’s basically her Christmas Present. We’ll probably need an additional plotline- maybe similar to Julie, she can have a story on spending the holidays in different places.

Happy Birthday Courtney - end of summer, aka meeting Isaac and her trip with her Dad.

Courtney Saves the Day - Beginning of the HIV arc, ending at her presentation to her class.

Changes for Courtney - Continuation of the HIV arc as things get worse for her and Isaac, ending where Friendship Superhero ends.

Is that a perfect sorting? Probably not, I came up with it in ten minutes. But would it give Courtney space to breathe and more time to explore everything happening to her? Probably!

The tl;dr of this is honestly that American Girl are absolute cowards right now, and need to expand their books back. Their abridging is only harming their stories- which, as Courtney herself points out, are the reason girls got into their company in the first place.

[thekatebridgerton]

Is it bad that I don't want Sophie Beckett to be a POC? It's because putting a POC in a Cinderella story (which Sophie and Benedict's story is), opens up to the dangerous white savior trope with the rich white man saving the oppressed POC working woman. I cannot think of any way to carefully handle that and still stay loyal to the books. But that doesn't mean Sophie has to be an english actress. If the show makes Sophie Irish, the show can still address the same issues about working women in Regency England with added historical accuracy - as we all know the British were beyond horrid d*cks to the Irish for centuries. And that's an understatement.

I’d like to point out that Nicola Coughlan is Irish. And that I do love the implication of the Featheringtons might Irish roots. Hopefully her Irish heritage will get brought up in the show next season. Your question does makes me wonder how well Nicola would have played Sophie if she’d been casted opposite Luke Thompson tho. 

Now put on your seatbelt anon you're about to hear a rant.

First of all let's get this out of the way, I am in no way opposed to seeing a black Cinderella on Bridgerton. One of the best Cinderella's in cinematic history was a black woman, which was Brandi in Roger and Hammerstein's. And Brandi's Cinderella is so great, beautiful, flawless in the way she played it that surpassing her has been the challenge of every Cinderella that came after including Lily James.

If someone like Brandi played Sophie, Bridgerton would rise so high, because there's something about a black woman not putting up with oppression any longer and quite literally giving Benedict the dressing down he deserves, that would be so cathartic for me. You wouldn't even notice the white savior trope because she would kick it out of the way with the force of her performance. The way the actress plays the role has a lot of power into how the character is perceived. Take Gugu Mbatha-Raw in any role ever. Most notably in 'Belle'. when she's on screen, the depth she gives to her performance makes white people look like they're not even trying. 

If Bridgerton did cast a black actress as Sophie, unless the actress was anything short of spectacular, her performance would be compared to Brandi. Because Brandi set the standard for POC Cinderella scenes.

Now let's leave aside that Benedict is a classist duck to Sophie for a moment. And focus on the fact that Sophie Beckett has arguably the most tragic backstory out of the four Bridgerton wives. Kate, Penelope and Lucy at least had families who gave a thought to their happiness. Sophie didn’t. Her backstory is going to hurt regardless of who plays the role, it’s literally written that way. 

Which brings us to my rant, if you examine the amount of times the Cinderella trope has been used in a movie or tv and cross reference that with the amount of times a non-white actress played the role, you start to see a disturbing trend. Which is this: when not performed by a white actress, Cinderella is performed by an actress of South American/Latino descent. Most recently Selena Gomez, Sofia Carson and Camilla Cabello. And Dania Ramirez in that season of OUAT I didn’t watch.

As a Latina myself if you think the slavery implication in the white savior trope is bad when Cinderella is played by a black actress then it's just as bad when it's performed by a Latina. People don't talk about it that much because Latina skin can pass for white under a certain tan booth light. But make no mistake, the implication is there. 

Hot take: Actresses with South American/Latino heritage, aren't all born to play the role of maids or any other type of oppressed citizens. Despite what Jlo made Hollywood think in Maid in Manhattan. In fact neither are black women. Bridgerton at least got that right when they cast a POC as Queen Charlotte.

If you cross reference the amount of times Cinderella has been played by a black woman in movie/tv and you get 1, which is Brandi, the Cinderella who set the bar really high. 2 if you decide to count Rags where Keke Palmer plays the prince (which I don’t count) but it’s worth mentioning. 

Rant ended back to Sophie and Benedict.

Now, with the exception of the casting of Daphne, ( which I think could have gone better, because Phoebe’s performance was lackluster compared to costars like Nicola Coughlan, Ruby Barker and Sabrina Bartlett) Bridgerton casting has always been really successful. I personally love who they picked as Kate and Edwina. From what I can see in the recent clips, Simone Ashley can give a lot of depth and nuance to Kate. 

I hope that they do the same for the casting of Sophie and bring in an actress who can portray Sophie as someone who refuses to be the victim and has never lost hope. Which is the beauty of Sophie’s character. Personally I’ve never seen an Asian Cinderella in western tv, if they cast an actress with Asian, Pacific or Caribbean heritage, they would actually BE breaking ground and doing something that hasn’t been done before. Even another Desi actress would do well in that role.

 I’m the first to raise my hand in favor of more Asian representation in Bridgerton because we didn’t get any in S1 and for a show that’s supposedly so diverse that kinda bummed me out. And it would also have less racist connotations because at that historical point in time, the British (in my limited understanding) had a less oppressive relationship with Asians. At least compared to other cultures that they were actively suppressing, enslaving or destroying. 

I still trust that Sophie’s actress will be spectacular, and hopefully she might make me feel something beyond boredom towards Benedict and redeem him in my eyes. Because out of all the Bridgertons I care about his manpain the least in An Offer From A Gentleman. And I still cared about his manpain the least in Bridgerton S1 (regardless of how well Luke Thompson played the character.). 

Ps: pardon if I used racial terms that offended anyone here. In my culture calling a person Black, White or Latina, isn’t seen as an insult. So if any of you got offended, it was completely unintentional. 

[nileqt87]

Relating to a meta video about WandaVision

Some recent metas have shown a major bias that misinterpret Wanda completely. Wanda clearly wants marriage and children. She was in a relationship with an artificial intelligence who is now dead. By the relationship's very nature (which is referenced in the nosy comments of being asked why they don't have children yet), they are biologically incompatible. He's not human. Do you understand why this desperation to follow the housewife emancipation narrative thus doesn't make sense?

The show isn't making fun of housewives who want marriage, children and a normal life or telling them to give up wanting those things because academia has decided for women that a traditional family life with a nurturer and a provider is unfulfilling. It’s also not making fun of historical time periods and their mindsets in a postmodern way (not the same criticism that Pleasantville made), but actually is looking back on those sitcoms and their tropes with a lot of love. The show creators actually had a sit-down with Dick van Dyke because they have affection for these shows and it showed in how accurate they got everything. At no point do they make fun of the eras or sitcoms of old, but rather reserve most of their poking fun (lovingly) at the characters themselves instead. Elizabeth Olsen herself is a sibling of sitcom royalty (the Olsen twins of Full House fame). Wanda herself has a lot of affection for those escapist shows that got her through hard times and she yearns for having a lot of the things depicted in them. Criticism of past media for not being currently relevant enough (this idea that the ‘50s sitcom world or even music of the era is creepy all on its own even before it unravels--sorry, but a lot of people still respect I Love Lucy, et al.) or of women who might actually yearn to imagine themselves into such a “normal” or “traditional” life with things they’ve always desired (yet are explicitly denied to them) or one free of tragic endings (yet at the same time acknowledging that we do suffer loss we have to accept) was completely the opposite of WandaVision's message.

Wanda has been denied every single one of those things for her entire life and she's in mourning for the life she thinks she'll now never have because everyone she's ever loved is now dead. She desperately wants to have children, a husband and family, to the point where she still hasn't given up on creating them for real. And do note that she has to create them magically, whether Vision comes back or not.

Before she even lost either of these Visions or her imaginary children, she had already lost her own parents, home and twin brother. She's been a young woman without family for years and Vision was the one being she had left (she didn't have many Avengers she was close to and one she spent her entire life blaming for killing her parents), as unusual a couple as they were, until he was taken from her, too.

Hayward pushes her buttons constantly by using language that dehumanizes Vision (phrases like "back online", rather than "back to life") as he's being stripped for parts while she's using language describing a loved one she wants to give a human burial to. She has been judged for her choice in partner, just as the act of White Vision being stripped of Vision's memories that were wrapped up in falling in love instead of strict programming without distraction (Vision injured War Machine in an act of friendly fire because he was distracted by Wanda) is deemed by Hayward to be an improvement. He sees Vision as nothing more than a very expensive weapon to be used. He even puts a price tag on him. The relationship between Wanda and Vision with Vision being capable of having feelings or sentience at all is thus treated as a programming mistake.

The denial of Vision’s personhood also mirrors Wanda’s own for years. Hydra and Ultron used her as a weapon, then the Avengers used her as a weapon until they spent more time treating her as a live nuke that needed to be guarded and imprisoned. It’s not much different than Wanda being told that Vision doesn’t even belong to her and even his own desires are irrelevant (he thus doesn’t even own himself); he’s mere property of an organization.

The last thing Vision wanted to be was a weapon and it shows in how he doesn't defeat White Vision with a battle, but rather an existential philosophical debate.

Consider this when you realize that Vision was ready to flee the Avengers completely with Wanda to go live in a suburban lot in New Jersey when they were pulled into the mess with Thanos. Their attachment was to each other during those stolen moments for two years, rather than to some greater duty. It was Vision who bought that empty lot and was talking about the two of them running away from everything and pretending to be a normal couple. It's the life that Vision was talking about in Infinity War that was taken from Wanda because he was attacked right after that scene and later died in that movie.

Interesting thing to note about Infinity War is that Vision was using a human form at the beginning of the film even when there was nobody around (even alone in their hotel room and even when the Mind Stone is bothering him--he doesn't change form when she's connecting with the stone in his forehead either). Throughout WandaVision, Wanda is constantly asking Vision to remain in his true form with her, such as when meeting his children for the first time. It actually contradicts the real Vision that we saw at the start of Infinity War who seemed to be wanting to be seen as a man instead, even in only Wanda's presence alone.

[filmmakerdreamst]

How Xena: Warrior Princess Allowed Me To Accept Myself

I was living in a city all alone and these two characters showed me that it was ok for two women to love each other.

In order to understand the following story, there’s something you need to know about me. I have always loved fiction. From the age of about 5 to 11, I loved books more than I loved people. I was a shy child who found it easier to emotionally engage with fictional worlds than the real one around me.

See, fictional worlds are created for your brain’s enjoyment. Their rules make sense. Events happen for a reason. The narrator tells you why characters behave the way they do, allowing you to empathize with them on a deep emotional level. Easy to understand, easy to identify with, easy to love.

But real people are complicated. The real world is complicated. And things are seldom laid out nicely in a coherent narrative format for you. Real things are much harder to love.

This emotional disengagement continued from the age of 11 onwards, although it was no longer as pronounced. My habit of retreating into fiction would fade during good times and come back in force during difficult or stressful periods. During the stressful periods of college, the rise of Netflix allowed me to become certifiably obsessed with my favorite TV shows. And naturally, I joined Tumblr in order to more easily fangirl with people who shared my interests.

Only for some peculiar reason that I didn’t care to examine, my interests were slowly gravitating towards girl-girl couples. Soon I was shipping, reblogging, and reading fanfiction almost exclusively about female couples. But I, who had always considered myself straight despite lacking interest in the boys around me, didn’t think this meant that I was gay. I probably just found female couples more emotionally satisfying. I was friends with mostly women, I was a woman myself, so it was natural that I just understood them better. Yeah, that was probably it.

Fast-forward to nine months ago. I was living in Boston and incredibly depressed about it. My job and my boss were making my life miserable and I had very few people to socialize with. I was making the rough transition from the constant socialization of college to the isolating pressure of a city where I had few connections. My days and nights were some of the loneliest I had ever experienced. I looked for something, anything, to lift the heart-crushing emotional silence.

My solution was the same one I always chose when I was dissatisfied with the real world; obsession with a new TV show. And thanks to my femslash-focused tumblr community, I knew just what my next feel-good show was going to be.

My tumblr friends had told me this: Xena: Warrior Princess is an action-fantasy show that enjoys a cult status, much like Buffy: The Vampire Slayer (which I watched and loved). The two shows were made in the same mid-to-late 90's era, with similar bad special effects and endearing campiness. But XWP is much… MUCH… more gay.

That was about all I knew about the show going in. And amazingly, that was all I needed to know to be excited about watching it. You’d think that fact would have told me something about myself, but no. The mental walls of denial were years in the building and needed more force than that to be shattered.

For anyone unfamiliar with the show’s premise, Xena: Warrior Princess is about the title character and her quest for redemption. You see, Xena did some bad things in her previous life on another show (Hercules: The Legendary Journeys). In her storied career as a warlord, she committed such petty crimes as genocide, the slaughter of innocents, that kind of thing. But now she has seen the light and wants to atone for her crimes. Except she can never undo the terrible things she did. All Xena can do now is help people on a day-to-day basis and hope that it’s enough for someone to show her mercy.

Which is already fantastic from a character standpoint. But there is a secret mirror to Xena’s journey that is not reflected in the show’s title, and that is Gabrielle and her character arc.

Oh! Gabrielle! When I met her in the very first episode, I loved her straightaway. She is a feisty, naive, talkative small-town girl who accompanies Xena on all her adventures. Her character quickly assumes paramount importance in the narrative. Gabrielle is Xena’s only friend. She comes to know her better than anyone else and love her for who she is, all the while believing Xena can reach redemption. Yet Gabrielle is not just a support system for Xena; she goes on her own heroic journey. The two character arcs intertwine and co-develop in a way I have never seen in any show before or since.

As each episode rolled by and their relationship grew in complexity, I found myself more and more engrossed. And I came to realize: this was something I wanted. The day I accepted my own desire was the day I accepted myself. What could be more strangling than denying the existence of your own feelings? Yet I had been doing this to myself for years — cutting off the possibility of being attracted to other women — without even realizing.

Before beginning the show, I thought the fandom had read in between the lines to construct a romantic relationship between the two characters, the same way as femslash shippers do in all other TV shows. Except not this time. This one is mind-blowingly different.

Not only does the narrative place utmost importance on the relationship between Xena and Gabrielle, but the actresses bring such multi-dimensional love to their parts. When I saw Lucy Lawless (Xena) and Renee O’Connor (Gabrielle) interact, I could so easily believe that these two women loved each other beyond friendship. Xena and Gabrielle display every kind of love you can think of. They protect and sacrifice for each other. They tease and flirt. They cuddle and console. They have inside jokes with each other. They dance sexily. They play pranks and drive each other crazy. They sweetly kiss. They come back from the dead together. They bathe together. They raise each other’s children. They meet in alternate timelines and fall in love all over again.

I could have left my mental walls of denial in place. I could have said to myself “oh yes, I want this. But with a guy.” But no. Lawless and O’Connor’s incredibly attractive faces and bodies broke down the door of my mental closet. Precisely because they were fictional, I felt safe to admit my attraction to them. One of the key mental blocks I had always had towards accepting any attraction towards other women was the thought that I was being creepy. That since they could not possibly feel the same way about me, it was wrong to feel the way I did. But in my mind, that barrier didn’t exist with fictional characters. They couldn’t feel anything for me. Therefore, it was fine to feel whatever I want about them.

The walls cracked. The water came rushing in. Oh my god. I am attracted to other women. Like, every day of my life. Those flickers in my stomach when I talk to an attractive female coworker suddenly make a whole lot of sense now. I now saw my historical awkwardness when talking to beautiful girls, which I always dismissed as “me being weird”, for what it was. All those short-term girl crushes on older girls throughout high school. How was I so sure they were platonic? That heart-aching infatuation I had with my best friend that lasted for years? Yeah, add that to the ‘definitely gay’ list.

Since then I’ve realized that my feelings are valid regardless of what others feel for me. Just because feelings are unrequited doesn’t mean they aren’t real. That’s what Xena and Gabrielle taught me. Their fictional example was the final blow to my rapidly-crumbling resistance to the idea of homosexuality.

In our culture today, so many forms of media reinforce heteronormativity. How many commercials have you seen that assume attraction between a man and a woman? How many billboards tell women that they need to look sexy for the men in their lives? How many times has a movie ended with the guy getting the girl? It’s the combined action of a thousand small rocks shifting to make a cultural avalanche. You can’t move against it. All you can do is stand still and try to maintain your footing against the current, to maintain your identity in the face of a world where you and people like you are often swept away by the mainstream.

Xena: Warrior Princess is one of those rare stories that dares to go against the grain. It celebrates a romantic relationship between two women as the most natural thing in the world. And in doing so, it provides a mirror for me and people like me to recognize themselves in. There we are. Look at us fly.

This story isn’t over yet. I still have a lot of work to do to accept myself, but thanks to Xena and Gabrielle I’ve taken one huge step towards living the open life I want to live. I moved on from that horrible job and lonely city, but in the end I’m grateful. Grateful that circumstances pushed me to the depths of loneliness necessary to bring down the prison I had built in my own mind.

- How Xena: Warrior Princess Allowed Me To Accept Myself by Lyra Hall

[melanielocke]

Lost in the Shadows - Chapter 33

AO3

Taglist: @alastaircarstairsdefenselawyer @foxglove-airmid @alastair-esfandiyar-carstairs1 @justanormaldemon @styxdrawings @ipromiseiwillwrite @a-dream-dirty-and-bruised @alastair-appreciation-month

Previous Chapter: Chapter 32

Next Chapter: Chapter 34

Alastair used his dagger to mark trees that stood out enough they’d draw his attention. How he’d woken up here with his dagger still on him, he wasn’t sure, but it was convenient. The forest looked the same everywhere and he couldn’t rely on his memory when he couldn’t tell the difference between the different paths he’d taken. He needed some things to narrow it down, which was why he’d started carving letters into trees. He’d remember enough to know where he was when he encountered one he’d previously carved, and he worked in alphabetical order. Even with his memory, he still ended up going in circles a couple of time, but at least he remembered which letters were part of that circle. When he ran out of alphabet letters, he continued with the Persian alphabet. After that, he figured numbers would do the job.

He didn’t know how much time he had left, nor did he know where Thomas was. There were very few buildings in the realm of the thief, but the scenery did change. The woods weren’t the same everywhere, although it all had the same air of darkness. Some places the woods were like he remembered from Devon, maple trees overgrown with moss. Others reminded him of the Hyrcanian forests in northern Iran his cousin Soraya had sent him pictures off. He’d started emailing with her about a year ago, but hadn’t met her yet in real life. He guessed now he never would.

He asked souls for help occasionally. Most of them could speak, but none had seen Thomas. Someone as tall and muscular as he was tended to draw attention, so Alastair assumed it was unlikely someone had seen him but did not recall. He had to be here somewhere. Someone ought to have seen him, right?

A soul of a white woman walked over to him. It was one he hadn’t seen before. She looked like she was from the Regency period. She wore a creamy white long gown with an empire waist and puffy sleeves. Alastair liked historic fashion, although he was by no means an expert, and could usually recognize the time period when it came to European fashion. Lately he’d started looking into historical Persian fashion as well. There were people from all over the world in here, although he was under the impression the majority was white. Perhaps that was a regional thing, because this part of the realm was layered over western Europe. Or perhaps the people making deals with the thief were mostly white, European people, who tended to sacrifice other white people due to proximity.

‘You’re Alastair Carstairs,’ she said.

Alastair frowned, why would someone he had not met approach him here? ‘The thief sent you,’ he concluded.

‘No,’ she said. ‘I was commanded to find you by a girl. I don’t know… She wants me to bring you to her.’

Alastair took a step back. Could he trust her? This was exactly the kind of trick he expected from the thief, to lead him to the wrong place so he would not find Thomas in time. ‘Who is she?’

‘I don’t know,’ the woman said. ‘She told me to find a man named Alastair Carstairs and I found you.’

‘But how do you know who I am?’ Alastair asked.

‘I don’t know, I just do. I know you’re the one she’s looking for.’

‘What did she look like?’

The woman tilted her head. She was wearing a creamy white bonnet that matched her dress. Not something Alastair liked exactly, although he loved men’s hats of the time period she was from. He loved historical gentlemen’s hats in general, and it was a real shame people had stopped wearing them.

‘She had light brown hair, fair skin. There was another girl with her. And a young man.’

‘Did the other girl have red hair and brown skin like mine?’ Alastair demanded.

‘Yes. She had a sword. And the boy was very tall.’

Alastair nodded. It could still be a trick, of course, but it was worth checking out. ‘Take me to them.’

Alastair followed the ghost. He wondered who she was, and how she’d ended up here. She must have been here for a very long time, still wearing the clothes she’d died in. Alastair recognized dress styles even older. A woman in a dress that looked mid eighteenth century, Elizabethan fashion even. Medieval and renaissance clothes, although he didn’t spot a lot of those.

He still made sure to mark the trees when he followed, using numbers now. The regency woman’s soul was clearly annoyed when he had to stop so often, but he suspected Lucie would want to know the way to the thief. He couldn’t afford to get lost in the shadows.

Lucie, Cordelia and Thomas were walking through a part of the woods that resembled how he pictured Scandinavian forests. Lots of pine trees, rocks like in Frozen.

The woman he was following addressed Lucie. ‘I have found Alastair Carstairs, milady,’ she said before turning around and returning to… wandering around aimlessly? Her stare went blank, and she went in a circle, as if her soul had just left her. Lucie must have woken her up somehow.

‘Alastair!’ Cordelia yelled at him. ‘Why would you do such a thing? What is wrong with you?’

‘I’m sorry, Layla. I thought you were dead. Thomas was dying. I had to do what it took to save him and I knew this was the only way.’

‘I never asked you to die for me,’ Thomas said softly.

Alastair took his hand. ‘I know, eshgham,’ he said. ‘But there was no other way. Now that Lucie and Cordelia are here, we still have a chance. But if I have to die so you can survive, that’s alright. It’s for the best.’

‘No, it’s not,’ Thomas said, almost angry. ‘I do not want this, I do not want you to sacrifice yourself for me. Have you considered how that would make me feel, to know I live because you died?’

‘I know it would be difficult. But in time, you would have realized I was never that special or interesting. You would have realized you could find someone else, and be happy. I do not think I could have done such a thing.’

‘Why, Alastair. Why do you not think your life is worth saving? Why do you think dying for me is a reasonable solution to this problem?’

Alastair couldn’t even begin to explain. Thomas did not understand, he did not see…. Alastair was too broken. He was doing the best he could with the pieces, but one day he would no longer be able to go on. He could not change, he could not be what Thomas needed. Thomas’ life was worth far more than his and so Alastair had made the only rational decision.

‘There’s no time to have this discussion, not if you want to kill the thief before my bargain ends,’ Alastair said.

‘We can’t find him,’ Lucie said. ‘We went to his castle, he isn’t there.’

‘He has another. A prettier one, classical style. If he didn’t leave, he’s still there now. I can show you the way.’

***

Cordelia followed Alastair through the woods. There were letters and numbers carved into trees every now and then. The farsi letters indicated Alastair had done that on his way here. He could navigate back easily. Cordelia wished she could talk to him, but he was right, there was no time and Alastair closed himself off from the rest of them. His face was blank and he showed the directions matter of factly. He was just like he’d been the past years, before Cordelia had learnt about their father and about Charles, never showing so much as a hint of emotion. Back then, she’d though he simply felt too good for her, or was, as her father had described it, going through a very turbulent adolescence.

Now she knew that wasn’t true at all, and she felt like she was losing him again. Even if they won. Even if he survived. He claimed he was sorry for leaving her, he’d believed she was dead. Cordelia suspected this had been his backup plan in case they failed at stopping Tatiana, something he had not shared with any of them. He could claim there was no one available to discuss his plan with at the time. Cordelia believed he’d had this plan since before they left, and had kept it a secret because he knew anyone else would try to stop him.

It felt like a punch in the gut. She’d thought that after years of silence, she finally got her brother back, but perhaps she hadn’t known him as well as she believed.

‘We’re almost there,’ Alastair said quietly. ‘Do you have a plan?’

‘We didn’t have much time to plan,’ Cordelia admitted. ‘Lucie will use her power against his in an attempt to neutralize him, which will ask a lot of her power, and that should give me the window to attack. Perhaps it’s better if you wait outside.’

‘No,’ Alastair said. ‘I have my dagger, I can help you. Besides, it’s only my soul that’s here. I don’t think I can sustain real damage.’

‘He might be able to control you though,’ Lucie said. ‘You and Thomas.’

‘Then you command me to fight him, Lucie,’ Alastair said. ‘I don’t think what I am now differs so much from a ghost. No doubt he can do it too, but with conflicting commands I hope that leaves me on your side.’

Cordelia wasn’t too sure about this, but she guessed he could help. They’d trained together, she’d want him to fight with her. She was just scared, but perhaps he was right, perhaps his soul couldn’t sustain harm. Of course, it was also possible any harm would make his heart stop beating. None of them had any idea what effect Alastair’s choice had on his body.

Cordelia was lost in thought and following her brother when Thomas suddenly grabbed her shoulder. She stopped, turned around. Alastair stopped too.

‘Watch where you’re going,’ Thomas said gently.

Cordelia looked in front of her. Nothing out of the ordinary. What was Thomas seeing? Her sight of the supernatural was not a gift she was born with, but after training with Risa for years she was decent. Right now, she saw nothing.

‘There’s a swamp there,’ Thomas explained. ‘Water, mud, with some clumsy bridges over it. Alastair picked the bridge so I thought you could see it, but then you almost stepped into the swamp. Could be dangerous, even deadly.’

Cordelia squinted, tried to picture the swamp Thomas described. Nothing.

‘I can’t see it,’ Lucie said. ‘But I can feel his magic. I think I could unravel the illusion, but I’d planned to conserve energy.’

‘This swamp wasn’t there when I exited the castle,’ Alastair said, ‘and I’m fairly certain I took this route. He changes the lay out of the world then, and uses an illusion to lure us into the swamp. Thomas can see where we can walk, as long as we follow into his footsteps we should be fine.’

Cordelia would prefer to see where she was stepping, but had to admit Alastair and Lucie were right. Lucie should save her energy for the real fight, so Cordelia did the best she could to follow into Thomas’ footsteps. She got her feet wet from a couple of mistakes, but so far could pull her feet back in time before it sunk in. Lucie had almost fallen all the way into the swamp, but Alastair had caught her in time, and Thomas had guided their steps so they’d stand somewhere safe for a while. At least she could feel the water when she stepped in it. Her shoes and socks were soaked by now, but that wouldn’t kill her, at least not in the short run. She wasn’t sure she wanted to know what sort of infection she could get from the dirty water.

‘You’re going to have to jump,’ Thomas said. ‘There’s a bit missing in the bridge here.’

‘Can you mark the edge?’ Alastair asked, handing Thomas his dagger.

Cordelia wasn’t sure how he’d brought a dagger in here with his soul, but was glad for the backup. Thomas carved a line into the ground, then jumped over and carved another line at the edge. It was a doable distance, Cordelia could jump farther. She wasn’t so sure Lucie could though.

Alastair went first, jumping over and taking Thomas’ hand to find balance. Thomas avoided his gaze, Cordelia suspected he was very upset about what Alastair had done, and with good reason. She hoped they could talk it out once they were all back. She hoped she could do the same.

Cordelia went next, she didn’t need help to find balance, she could feel where she could best place her feet.

‘Catch me if I fall!’ Lucie yelled at them before jumping herself.

Cordelia’s estimation that she might not make it had been correct, she fell backward and Cordelia caught her hand just in time, pulling her back and into Cordelia’s arms.

‘Thanks, Daisy, I knew I could count on you,’ Lucie said. ‘Thomas, please tell me we’re almost there.’

‘I think I can see the palace. Just a little while farther.’

‘I don’t see anything, but I trust you,’ Cordelia said.

‘Guess he made that disappear too,’ Alastair said. ‘But I’m not stupid, I know where it was.’

‘It’s still there, don’t worry,’ Thomas said. ‘And if he made it invisible, he’s trying to keep us away. That means he’s scared, doesn’t it?’

Had the thief not counted on Thomas’ sight? He must have known about that gift, right? And Alastair’s memory? But perhaps the thief had only counted on her and Lucie as potential enemies, since Thomas and Alastair were currently his souls. Was she missing something?

‘He should be,’ Alastair said. ‘I think he believes I work for him now. Said I should fail my task, and then I could stay here with Thomas forever.’

Thomas made a face. ‘That sounds dreary.’

‘It does, and I never would have done that,’ Alastair promised. ‘Even if he said I could be his prince or whatever and live in the castle. But I think that’s why he’s not expecting me. He offered me power, and he said Thomas could be there with me if I failed to save him. He must have thought I would fall for that.’

Thomas looked away again. ‘I am starting to remember. You three, you all spark memories of who I am. Who I was. It’s… difficult, to remember the past time. So much has happened. But I remember now.’

‘That’s right,’ Alastair said. ‘It’s been a turbulent couple of weeks. But it wasn’t all bad.’

He put his hand on Thomas’ upper arm as if he was trying it out, to see if Thomas still accepted his touch. Thomas didn’t reject him, which she guessed was something, but he didn’t respond to Alastair’s touch either.

Thomas sighed. ‘No it wasn’t.’

They followed in Thomas’ footsteps for a little longer until he said they were back on dry ground. It all looked the same to Cordelia, odd how it could be so well hidden. It felt different underneath her feet though, and she instantly felt safer.

‘We’re almost at the castle,’ Thomas said.

‘Here’s my B mark,’ Alastair added. ‘I remember it’s here even if I can’t see. I never realized your sight ability helped you see through illusions.’

‘Me neither,’ Thomas admitted. ‘But I think the invisibility of supernatural creatures is an illusion itself, something I’ve always seen through. Odd you can’t, since you can usually see when you know what to look for.’

‘I’ve seen the palace and I know it’s here, but I’m not seeing anything right now.’

‘Watch out, there’s a-,’ Thomas began.

Alastair bumped into something, rubbing his head painfully. His nose looked weird, had he broken it?

‘Wall,’ Thomas finished. ‘Are you hurt?’

‘Sort of. I’m fine.’

Alastair glowed a little, and then his nose looked normal again. ‘Ah, that’s better,’ he said.

‘What happened?’ Thomas asked.

‘No idea,’ he said. ‘Do you think breaking my nose here also breaks my real nose? Perhaps Kamala fixed it.’

Cordelia imagined that could have happened. ‘If this is a wall, then where is the entrance?’

‘Right here,’ Thomas said.

‘You didn’t remember that, Alastair?’ Cordelia asked innocently.

‘Oh shut up,’ Alastair said before following Thomas through the entrance.

Cordelia went last, and when she passed what Thomas had marked as the entrance the illusion unraveled before her eyes. The palace was mostly white with blues and gold, built in Roman style, encircled by an equally white wall.

‘Ah, I recognize this,’ Alastair said. ‘He could still be in the hall where he brought me.’

‘I can feel him,’ Lucie said quietly. ‘I think he feels me too.’

[nettlestonenell]

Enola Holmes in Review

Gentle Readers:

1.       I did not plan to watch Enola Holmes

2.       I do not/have not watched Stranger Things, and my entire concept of Millie Bobby Brown as a human is encapsulated in the occasional errant tumblr post, and a line of eyewear she apparently has created, posters for which hang at my glasses-provider.

3.       I had never heard of the YA novels about Enola Holmes

There she is!

Yes, I do tend to enjoy nearly any incarnation of Sherlock Holmes. And, yes, I am often surprised by this fact. For some reason, Holmes, unlike, say, Chris Evans as Cap or Chris Hemsworth as Thor [instances where I can’t really imagine enjoying anyone else in the role] I am always interested to see someone else’s [writer and actor and director]’s take on him. *Subtle shout-out to James D’Arcy’s 2002 turn in A Case of Evil.

Mr. Jarvis! [and there was Vincent D’Onofrio and opium!!]

And yet, watching the Enola Holmes trailer [no doubt b/c of tumblr], and yes, admittedly not unmoved [we are not made of stone] by Cavill’s Curls™ the delight I felt in watching that advert led me to start informing my family that on September 23rd what I was going to be doing was enjoying Enola Holmes on Netflix [and anyone else was free to join me].

Someone important is missing from this picture

And what a delight it was. In the run-up to its debut I read more than a few reviews of the film [and, I think, every one of them written by men], some of which struck me as simply coming from a place of mean-spiritedness, yet none—even the positive reviews—preparing me for how ENJOYABLE this film is.

I’m not going to provide a full review point-by-point here, b/c the film involves cases to be solved (no, none of them are overwhelmingly complex—YA novel--, so all the more reason not to spoil any pay-offs). But I do have some things to talk about.

THE ELEPHANT IN THE ROOM – And what a nice, nice elephant it is! Henry Cavill as Holmes is, in my opinion an absolute delight of a performance. From the moment he first says Enola’s name (a perfectly-rendered reaction to the moment playing out) this Holmes fits into this Greatest Showman-like version of Victorian England, where no one’s too dirty no matter how poor, and where despite a flaming red dress, cut too low for daytime wear, young Enola is never once mistaken for a working girl. [Again, YA novel] As other reviewers have noted, HC is, well, Cut and Bulked Out, and in his highly tailored frock coats well, strapping is too light a description word. *not a complaint. Cavill’s Curls are out and proud and here to tell us that we are meant to be Having Fun, and Gentle Readers—THEY DO NOT LIE.

No, not a priest’s collar where he is undercover (though I had thought so)

In fact, you could absolutely write your thesis statement on this film, that it’s really a fraternal, familial love story between Sherlock and Enola. Sherlock is the character during the two hours that actually changes. [Yes, Enola comes to an understanding about herself, and her circumstances change repeatedly—but it is Sherlock who experiences a Change of Heart/Reversal]. 

Raise your hand if you’re totally here for significantly older brother/significantly youngest sister family love!

HOW I WOULD DESCRIBE IT – This might in no way be helpful, but, Enola Holmes is basically The Young Indiana Jones Chronicles...

Where have you gone, Sean Patrick Flanery?

a YA historical storyline that’s written adjacent to [there, famous people] here, enduring fictional characters. It’s adventurous and pleasantly immersive, historical morays are given a slap-dash portrayal, rather than a fully-accurate representation, there’s adventures to be had, and side-characters to be converted into caring about the title character as much as we, the audience, do.

LUCY HONEYCHURCH – Yes, that gorgeous girl from Windy Corner. The timeline doesn’t jibe, but I daresay Helena Bonham Carter (back in a corset—though she may have worn those for Bellatrix) as Eudoria Holmes *IS* what Lucy Honeychurch might well have become beyond A Room with a View’s end. Bonham Carter looks absolutely at home here (period films have sorely missed her! –she had a part in 2015’s Suffragette), and still wears the trappings of Victorian England like a second skin. 

Not to mention that she now join my personal comfort-list of on-screen mothers with the likes of 1997’s Little Women Susan Sarandon and Cinderella’s Hayley Atwell.

FAMILY ISSUES OR PLOT HOLES? 

It’s a fair question. There’s a lot going on in this plot, some of which...seem solvable. Why has it been so very long since the Holmes brothers have seen their own mother? And sister? How could the woman we come to know as Eudoria raise a Mycroft? [see also, Molly Weasley?] Why aren’t people who seem to care about Enola more engaged with saving her from all the dangers London throws in her way? Why does Enola accept several acts of violence aimed at her, why does she in certain instances Do What She Is Told? Rather than chalk these up to plot holes or convenient devices, I’m siding with the Holmes family being dysfunctional [who knows what dad was like? We’re certainly not told here]. 

[clears throat]

The conversations between Mycroft and Sherlock barely skim the surface of any subject they interact on. Classic dysfunction: distancing one’s true self from human interaction b/c keeping the peace supersedes all else.

Enola accepts certain treatments b/c if we really do watch her relationship with her mother, there is an element of something amiss—as I will declare the later abandonment shows. Enola is a child used to being elevated and celebrated on one hand, and shut out and isolated on the other. Her parent has informed her about so much, but essentially locked her away in a false reality, where Enola is not taken to see the world, nor taught how to interact in it (which is explicitly stated). Perhaps it is not so surprising that the Holmes’ brothers have not cared overly much for visiting their remaining family. And when repeatedly confronted with a minor child (and yet a child likely though old enough or about so, to be married off) being forced to endure things diametrically opposed to her will—the brothers’ reactions are stoic, the system they accept as to how life must be lived immoveable and morally right simply by its very existence.

MILLIE BOBBY BROWN – THE STAR – In what has to be an Emmy-nomination-deserving turn, MBB is nothing short of wholly in charge of the screen. She never overpowers the story. She’s as loveable as Sandra Bullock in While You Were Sleeping, and as ready for her closeup as Jennifer Lawrence in The Hunger Games. As another review mentioned, she handles the 4th wall breaks in such as way as we look forward to the next time she’s going to talk to us. We ache with her sorrow for her lost mom, and rage with her at the adults in her life choosing wrongly for her future—or simply not choosing at all.

A random observation, but one that feels important to me: her HAIR. Yes! They’ve managed to make a late Victorian-era film where the heroine’s hair looks like real hair that someone really styled (or in some scenes, didn’t). And yet, where the hair looks proper for the time. [wild applause]

COMPLAINTS: Well, in honesty there aren’t any. If you want to complain that there isn’t any dirt, that the evil of the world (I mean, c’mon, this is narrowly post-Dickensian London, here) is neutered, that the adults in question seem neither alarmed enough or emboldened enough at either their mother or sister being missing and possibly out of their depths in a dangerous society without protection, and in Enola’s case real-world skills--? Well, I’m certainly not going to disagree with you. This is YA Victorian London, after all, not Ripper Street. There is also neither a hint of or actual threat of sexual violence at any point in the film. But the lack of that has preserved us from having to sit through that, as well as no doubt lectures about how Enola’s virtue might be spoilt and she might become useful to no man.

The relationships are appropriate, too. Despite strides between Enola and certain adults in the film, by the time the credits roll they’re not showing physical affection toward each other (a move that would have seemed over-the-top), and teen relationships are shown progressing at a reasonable and mutedly awkward pace.

Now, Netflix, green-light me five more films (or more). There’s still a new version of John Watson to meet, after all!

[pynkhues]

Why do you think good girls don’t kill off white people ?

Ah! Well! That’s a pretty loaded question, haha.

I think there are quite a few things to unpack within it, particularly around how this show handles race and violence more broadly, and I’m going to do my best to offer an answer to that for you here, but before I do that, I want to start with the fact that I’m not the best person to ask.

Honestly, it’s a conversation I struggle with because while I do read, listen and try to think proactively about media, criticism and the voices of BIPOC writers, audiences and critics, I’m also white and I’m Australian, so presenting myself as anything close to an authority on the subject of race and storytelling in America feels wildly irresponsible at best.

(When I say that too, please don’t get me wrong and think I’m excusing Australian media from similar conversations – Australia has a deeply racist past and present, but the context of that past and present is very different to the experience of BIPOC in America, and to equate the two would be diminishing to the nuance of both conservations).

My point is that if any other bloggers feel comfortable and want to speak to this, or to what I write below, please do! And please tag me so that I can see and reblog, because I know I’m not the best source for this conversation and because I’d love to learn more myself and amplify the voices of people with more informed points of view!

But! You asked me and I don’t want to dodge the question either or thrust responsibility onto others!

So!

I personally think the issues of race on this show vary not just character-to-character, but writer-to-writer, which is indicative of a broader problem with the show I’ll talk about a bit later. Right now, I want to talk about the fact that there have been episodes where I think race has been handled in a way that feels thoughtful and considered. In particular, I’m talking about 2.06 which really paralleled Turner and Stan as Black men working for law enforcement, a conversation that was revisited in 2.09 during the lie detector test when the strength of Stan’s character was contrasted with the self-interest of Turner’s. The latter episode was also bolstered by Ruby and JT’s push-pull which came to a close by spotlighting a class issue often tied to race – under-resourced school districts. These are rounded episodes that touch on the nuance of complicated issues, and I don’t think it’s a coincidence that both episodes were written by Black writers, Des Moran and Carla Banks-Waddles.

That said, that nuance is too-frequently missing.

I think there are a lot of occasions where the show removes race from character and context in a way that is detrimental to not just those characters, but to the show overall. One of the clearest examples of this is – as @foxmagpie pointed out just the other day – the inauthenticity of the show presenting Ruby’s experience of invisibility as the same as Beth and Annie’s, something that the show does more or less every episode. Her experiences would not be the same as theirs, and to present it as such diminishes her arc, her relationship with Beth and Annie, and the show’s themes overall.

That removal of race from character and context is often a key issue that the show has with how it depicts violence. and I’m going to circle back to this point in a moment, but I just want to clarify something else quickly.

The show has killed off white people.

In fact, prior to 2.13, most of the characters killed were white (Eddie and Jeff), although not all (Ruby’s dad), and all the characters who experiences violence were white – Annie was almost raped, Mary Pat was raped, Dean was shot, Big Mike was shot, Ben’s bully had his finger broken, and Boomer was hit over the head with a bourbon bottle, held hostage in a treehouse, punched, manhandled and hit by a car. Marion was also killed off in 3.08.

I’m bringing this up not to diminish the violence that Ruby, Rio, Turner and Lucy have experienced on this show, but rather to emphasise my point above. The show, I think, wants to treat all of this as the same. It wants Ruby, Rio, Turner and Lucy’s identity and race to be incidental in these moments when it can’t be, because it’s not. Because ignoring the social and cultural history of the violence that these characters experience is not only inauthentic, but a part of a pattern of storytelling that brutalises BIPOC bodies in media.

None of us live in a vacuum, and context matters. Context is important. Context is what all of us live with, and on paper – in a vacuum – a man being shot by an ex-lover after he kidnaps her is very different to the contextualised image of a white woman shooting her Latino ex-lover – a sequence of events that conjures racist stereotypes, tropes and historic cultural violence. Similarly, a woman being murdered after being used by a colleague and then coerced by a gang is different on paper to the image of an Asian woman being used by a white woman and then murdered in a country where anti-Asian violence is at an all time high, and when Asian characters in Western media have historically been treated as disposable.

We don’t live in a world without context, so the stories we consume shouldn’t ignore that context irresponsibly.

I also think there’s something to be said here about the salacious presentation of certain acts and the lingering camera on certain moments. The scene with Rio being shot is graphic in a way no other violence on the show has been, with the closest to it – I would argue – being Boomer’s attempted rape of Annie in 1.01, which is a whole other kettle of fish (I have very mixed feelings about how this show uses and talks about rape, but that feels like a whole other post, haha). Similarly, the camera lingered on Ruby’s shot leg (and the story’s stayed with us longer than Dean’s shot chest), and Turner’s body, while Marion and Eddie were both killed off-screen. At the same time though, there’s an argument to be made that the show’s treated the violence against these character’s a lot more seriously than it’s treated, say, Boomer being carted off in a bag after being raped in prison to presumably be further brutalised in some way, or Dean collapsing at Boland Motors halfway through a Fortnite dance.

My point there is that we shouldn’t ignore that white characters on the show are killed and brutalised too, but we also need to acknowledge that these scenes are entrenched in different contexts, which means that the way that they play out has a really different impact, and the show trying to divorce these acts from race is ignorant and irresponsible.  

In that sense, I don’t think the show’s trying to be harmful or deliberately relying on racist tropes. I think it’s made active efforts to rectify certain problems it’s had historically (half of s3’s episodes were written by Black women, a marked evolution from 0 in s1), but it’s one that, in my opinion, doesn’t treat race as central to its story in the way that it should, particularly as a relatively diverse show that’s concerned with class, family, poverty and crime in America. And that is why I think the depiction of it varies writer-to-writer, and it’s why I think the show overall can be thoughtless with how it depicts scenes of death and violence, and that is a top-down problem that Jenna and the PTB need to address.

After all, death and violence are always going to be a part of a show like this – particularly a show that has such a small, insulated cast (ergo limited characters to depict as both victims and perpetrators of that violence in meaningful ways), but it’s the thoughtlessness for me that steeps the show’s most racist scenes, and in 2021 that’s really not acceptable and the show should be held accountable.

[mysewingadventures]

Historical Accuracy of Costumes in Period TV Shows - Anne With An E

I was very surprised at how well my historical accuracy post about The Aeronauts did, so I decided to write about another one! This time I’ll be talking about the fashion in Anne with an E, but I’ll be mainly focusing on the kids’ clothing because kids’ period fashion is something that’s very rarely talked about and we know very little about.

First of all, if you haven’t seen Anne with an E, please do, it’s an amazing adaptation of Lucy Maud Montgomery’s Anne of Green Gables novels which I adored reading as a kid, but unfortunately I barely remember anything from the books so watching the show was kinda cool going into it without knowing what exactly was going to happen. But anyways, enough about the show, let’s get to the fashion. A little disclaimer: some of the fashion choices made by the department are very closely tied to the plot so I might be spoiling a little bit, but I won’t be talking about any big spoilers or plot points!

So, the story takes place from 1896 (season 1) to 1899 (season 2), so we’re in the late Victorian time period.

First up, we have this dress that Anne wears at the beginning of season 1. It’s obviously way too small, very simple and plain.

It was very typical for girls to wear aprons as an outer layer so they wouldn’t get their dresses dirty, we can see that all throughout the show with all characters. But here we have something that looks odd to someone who might not know the story and Anne’s upbringing. She’s an orphaned girl, this is the only dress she has and has had for years, hence why she grew out of it. It’s plain, simple, she’s a poor girl who goes from one family to another and has to work to earn her stay. In her surroundings, nobody would have given her a new dress, or even an older but fashionable one. I’m assuming she got it at some point just because she didn’t have anything to wear and "as long as it would do the job, it was good enough."

Now, let’s fast forward a little bit until Marilla decides to finally make Anne a new dress. She mentions having some fabric laying around, so she uses that to sew the new garment.

It’s still very plain and not fashionable for the time, but it’s a garment that fits her, which was Marilla’s top (and arguably only) priority at the time. Marilla is one of a kind, she’s the direct opposite of pretty much everyone else in Avonlea. I won’t get too deep into her characterization, but Anne’s fashion reflects Marilla’s mindset that I just have to mention how she’s a woman who lives in a classist society without really becoming a part of it. She’s old fashioned at first, sure, but her priorities are different from all the other families. While everyone else cares about how they present themselves to others and how they are viewed and their reputation, Marilla stays true to herself and doesn’t change for anyone. They’re not poor, meaning they could afford pretty clothing if they wanted to but to Marilla, this is clearly a waste of money and she values other things more in life. Okay, sorry about this little ramble about her but it’s important to know to understand why Anne doesn’t have the most fashionable dresses aside from the Cuthberts being “poorer” (despite still being middle class).

When Marilla announced she wanted to make a dress for Anne, Anne immediately requested puff sleeves, which is understandable considering they were very fashionable in 1896. Anne has never had puff sleeves before and all of her friends probably did, so it’s just natural for her to want her new dress to have them.

So, puff sleeves... Enter Matthew who has a soft spot for his daughter and doesn’t share the same strict world views as Marilla. He goes out to Charlottetown to get a dress custom made for Anne, which has... *drum roll* puff sleeves!

It’s this beautiful blue dress which Anne falls in love with and wears on every special occasion. With the lace and the frills it almost feels a little too much for a child, as girls’ dresses were usually similar to adults’ but less decorated and more simple. Anne does stand out a little when she wears it to school, but the dress was clearly not made for everyday wear, she was just too excited about it not to wear it.

Here’s a cast photo (I couldn’t find any other ones where you can properly see other girls’ dresses without the aprons) and you can see that they’re generally less embellished than adults’ clothing of that time and just a little frilly.

Unless I am missing something, this was the only puff sleeve dress that Anne owns up to the end of the show, and that is because puff sleeves suddenly aren’t as fashionable anymore in the following years. The dresses still have a wider sleeve at the top but nothing that comes close to a puff sleeve.

Let’s move on with my favorite Anne dress.

I love this dress so much because it’s quite simple but still has that elegance of the Victorian era. So maybe I’m biased but I’d say it’s absolutely accurate! I’ve definitely not been thinking about making a replica and wearing it just for the heck of it. It definitely seems child-appropriate and more like an everyday dress than the previous one.

I’d also love to talk about Diana’s dresses for a moment as she is the richest girl in town (I believe? It could be Josie I’m not sure) but her dresses are always on point and beautiful and just a prime example of rich girls’ dresses of that era. Here’s one of her and her sister Minnie May wearing the same white Sunday dress.

You had to be rich to give your kids white dresses with not even an apron. Sure, you wouldn’t wear an apron on a Sunday dress, but you had to be either rich enough so your kids were used to having the best manners and wouldn’t get dirty or you had to be able to afford to get a white dress dirty. The Barry’s are both of those things.

There are many more dresses that were shown in the show but if I mentioned all of them, I’d still be writing tomorrow! Maybe I’ll make a part 2 someday. However, I couldn’t finish this post without mentioning the iconic... Just see for yourself.

And... I have contemplated for a long time whether I should say this or not as all I’ve ever seen about this dress was pure adoration but from a personal point of view, I... don’t like it. I’m sorry. And that doesn’t necessarily mean it’s not historically accurate, it’s just not my favorite personally. But I’ll get into the historical accuracy.

I had to rewatch almost the entire episode to see the dress in its full length, and after searching through a lot of fashion plates I have only found one that resembles it kind of.

But I’m still not 100% satisfied. The bodice almost feels a little outdated? If I had to guess I’d say this dress was more 1889 than 99. The skirt is historically accurate, though, as well as the sleeves. The blouse is laying a little too flat for 1899 and so is the bodice, it would have been more pigeon-breasted, just like the dresses you can see in this previous scene.

Granted, not all dresses in this scene have that silhouette and not all dresses in 1899 had that silhouette, but it just looks a little wrong with that particular style. A reason for that could be the fact that Marilla made it and maybe she just wasn’t completely up to date with the latest fashion trends and/or recycled an older dress, which is both something I could totally see her do. But then again, it could totally be something worn in 1899 and no one would bat an eyelash. Just because something isn’t common doesn’t mean it’s wrong! Actually, the more I look at it the more it looks right.

This brings me to another point I wanted to mention, which is the length of the kids’ skirts.

This is a photo I found in which they are approximately 14/15 years old.

According to a guideline I found from 1900 that I can’t include because of the 10 photos per post limitation but will link here, the hemline for that age should fall right above the uppper edge of the boot. The length we see them wear is appropriate for 4-8 year olds!

But that’s really the only thing I have to criticize. There’s not a lot of info we have on kids’ clothing so it’s hard to make a general statement but these are the things I noticed while watching the show and afterwards while doing research.

PS. The hats are all very cool and accurate! So many hats! After the lack of bonnets in some other movies seeing hats in a period film just make me happy 😊

[jovialyouthmusic]

Two’s Company -Changes

As Lucy continues to help Brad recall their early days, Sophia and Bastien welcome two new arrivals. 

Word Count 3918

A/N This is pure fluff, but if you are triggered by issues concerning fertility, pregnancy, medical environments or giving birth, give this chapter a miss. To be truthful, this chapter mostly features Bastien and Sophia, but it foreshadows Lucy’s future...

9 Welcome to the Twins

The band started up in the ballroom, playing background music while the guests arrived and were briefly announced. The Charity Ball at the Palace was under way at last. Lucy had insisted on Brad wearing the suit he’d had for the social season in which they’d met, and he thought he knew why.

‘And why does Drake get to wear his denim shirt at this formal occasion?’ he had quizzed her, just the same. She just smiled enigmatically.

‘If you don’t know you’ll find out in good time. Now go down and wait for the guests. I’ll follow in a little while. Don’t worry if I’m late, it’s all part of the surprise’

So Brad stood greeting the nobles that had attended the social season, the former suitors presenting themselves to him one by one. Madeleine was a little sour faced, but then that wasn’t unusual. Lady Penelope gave him a deep curtsy

‘Ah, Lady Penelope. It’s been a while. How are you – and your poodles? Did you bring them tonight?’ He had no memory of the dogs, but he had been given a set of cards with relevant details to review. He knew that prior to his car accident he had excellent recall on all the members of court, and his father had uncharacteristically praised him for it.

‘Thank you your Majesty, the Queen asked me to leave them behind tonight. Morgan and Morgana were quite upset’

‘I’m so sorry’ he said smoothly ‘Perhaps next time. I’ll make sure to ask her majesty to allow it’

‘Thankyou your Grace’ she inclined her head ‘And many congratulations on your recent…’ she froze for a second, a look of panic spreading across her lovely face, scanning the ballroom, her eye alighting on Drake standing nursing a glass of whiskey at the bar. His denim shirt stuck out like a sore thumb amongst the dinner jackets and ballgowns ‘uhhh marriages’ Penelope squeaked, and moved hurriedly away. Brad noticed Drake was talking to a woman in a red dress with a mask. She looked over and started to walk across the ballroom toward him, and he suddenly felt dizzy.

‘Hello, you’ll have to forgive me, but I don’t think we’ve met’

‘We’ve actually met once before’

‘Surely I would have remembered’

‘I suppose this mask is doing its job’

‘Will you give me a hint?’

‘you were surrounded by your friends…’

‘That’s not much of a clue…’

‘And you owed me a drink’

‘Lucy! I - never thought I’d see you again’ Brad said in a dream as she reached his side. She smiled broadly, taking her mask off.

‘Did it work?’ she asked, and he nodded, swallowing.

‘Yes – I think I need some fresh air’ She turned and waved at the band, and they swooped into a familiar tune – the one they had played when they had first danced together. He held on to her tight as the music swirled around him.

‘I’m a little better at dancing this time’ she smiled ‘and it’s my turn to sweep you off behind the curtains’ Soon he was leaning on the balcony taking lungfuls of air as the memories swirled around him. The dance, sneaking out to the maze – the chase, the kiss. He shook his head and stood tall, turning back to his wife – his Queen.

‘What is it about you, Lucy? Why did you make me want to break all the rules?’ he said softly. She put her hand to his cheek.

‘Because the rules were making you unhappy’ she replied ‘and in return you changed the rules for me and brought the three of us together’ He leaned closer and kissed her tenderly, his hand grazing her belly.

‘Here’s another big change. Life will never be the same again.’ he whispered close to her ear ‘When did we next meet? I remember the maze’

‘Well, I think I can risk it rather than waiting to stage it’ Lucy replied’ It’s a long time to the races’

‘Ah, the races’ he screwed up his forehead, then his face cleared. ‘I lost my bet on the winning horse and paid the usual forfeit – except you sat on my back along with Drake’ She smiled happily

‘How about the lawn party?’ she asked, but he frowned and shook his head.

‘I’m sorry’ he said dejectedly. She caught at his arm and squeezed it.

‘Never mind, not everyone remembers every little thing. I’ve had to rack my brain too. Let’s just leave it for now, enjoy the ball’

-------

In the staff wing, the sounds of the ball were a distant whisper of sound, unheard as the TV showed Sophia’s current bingeworthy period drama. She had stopped nitpicking the historical inaccuracies and dozed, the voices murmuring in the background. She smiled as the scene cut to a Regency ball in full swing.

‘Go on, admit you love her’ she mumbled, briefly surfacing to berate the male lead for not seeing what was under his nose. The female lead smiled, gazing into his eyes as they twirled and dipped. ‘So romantic’ she sniffled and reached for a tissue to dab at her eyes.

‘Hmmm?’ Bastien rumbled as he stirred in his easy chair, leg propped on a footstool as he sat vigil by his very pregnant wife’s side. Sophia laboured to sit up a little, and he got to his feet to help her, leg stiff from inaction.

‘Simon won’t admit he’s madly in love with Daphne’ she told him ‘and she’s so innocent she doesn’t realise he’s the man for her’ she sighed ‘I know, sentimental rubbish, but I can’t get enough’

‘Whatever makes you happy, theà mou’ Bastien smiled. He knelt by her side ‘May I?’ he asked, hand hovering over her bump. She nodded.

‘You had a large part to play in my current state.’ she grumbled ‘One of the tiddlers is using my bladder as a trampoline’ Bastien smiled, smoothing his hand over her belly. A little bump rose to meet his palm.

‘Not long till we meet them in person’ He stroked it, identifying it as a foot. ‘Come on little ones, Papa’s waiting and Mama’s tired’ He looked up at her ‘Shall I help you to the bathroom?’

‘Yes please, just let me pause this’ She pressed the button on the TV remote, and Bastien helped her to her feet. She groaned, hand in her lower back. ‘I don’t think I’ll ever be the same again’ she grumbled ‘Remind me not to do this again’ Bastien decided not to comment, as pregnancy hormones made his beloved somewhat cranky and he couldn’t think of an answer that she wouldn’t turn against him right now. She paused, grimacing with pain

‘Damn these Braxton Hicks’ she muttered, and he stroked her belly, feeling it harden under his hand, waiting until it softened again. She had been having contractions for a couple of days but the midwife had assured them it was nothing to worry about.

‘It’s fine, just practice for the real thing’ she had said briskly ‘Even with twins it’s quite normal. If they don’t subside within 48 hours, let me know’ They reached the door of the bathroom, where Sophia waved him away.

‘I can manage from here’ she snapped. He had removed the lock on the door in case of emergencies, and watched anxiously as she closed it behind her. ‘A little privacy please’ she called testily ‘I can hear you breathing’ He sighed and moved a little further away, the faint sound of her urination reaching him still. He knew he shouldn’t be so fearful about her wellbeing, but years of service on the Guard brought back memories of various emergencies involving impending childbirth. The Guard were the first line of assistance before medical staff could get to the Palace, and many other mansions he had served at were some distance from maternity facilities.

One notable example was seared into his brain when a noble lady had gone into labour miles out to sea on the Royal Yacht. He hadn’t been the only one to advise against the trip, but arrogance had won out over prudence and she had almost given birth before the air ambulance had winched her off the yacht. He was thankful the weather had been fair at the time.

He snapped back to the moment as he heard a little gasp. He stood up straight, straining his ears as a wail followed it.

‘Bas’ his wife called out, a hint of panic in her voice ‘Call the hospital – my waters just broke’

-------

At the hospital, Sophia was whisked away to be examined. Bastien was curtly told to wait, and paced the waiting room anxiously, massaging his hand from the pain of his wife clutching it fiercely on the drive over. Drake and Hana arrived to find him muttering curses against the doctors.

‘Calm down, Bas’ Drake had soothed ‘She’s in the best of hands’ Bastien glowered at him and straightened his shoulders.

‘She was supposed to see the midwife in the morning’ he growled ‘The risk with twins is elevated. I knew I should have insisted on an earlier appointment’

‘What exactly happened?’ Hana said, trying to ground him. He paused and ran his fingers through his hair, ruffling it out of its usual neat quiff.

‘Her waters broke’ he said ‘The babies each have their own sac but share a placenta and need to be delivered at the same time. If they’re both head down it’s possible to do it without a caesarean’ Before anyone could ask anything else, a nurse appeared.

‘Mr Lykel?’ He stepped forward, placing his hand on her arm.

‘How is she? Can I see her?’

‘She’s very well, considering’ she said, removing his hand ‘You really should have come in earlier. With twins…’ She paled at Bastien’s expression as he glared at her.

‘Our midwife told us all was fine’ he ground out.

‘Well, no matter.  She’s in labour and things seem to be moving quickly. Do you have a birth plan?’

‘We do’ he said, massaging his forehead and taking a deep breath ‘it’s filed here. Do you not have it?’ She looked flustered.

‘I think perhaps you should come through, if it’s what you’d planned’

‘It is. Take me to her now…’

Bastien entered the delivery room with trepidation. Sophia was flushed and sweaty, laying back in the bed in a loose hospital gown, her knees drawn up and a sheet covering her modesty. A midwife stood next to her and turned directly to meet him. Sophia lowered her knees and he could see the sensor strapped to the swell of her belly. A machine next to the bed monitored the babies’ heartbeats, and emitted a low whooshing noise.

‘Is this the babies’ father?’ the midwife asked brightly.

‘I am.’ He said curtly, going to Sophia’s side, taking her hand and kissing it.

‘I’m Sandy, and I’ll be looking after Mum and baby – that is, babies’ she smiled

‘Bas’ Sophia said faintly ‘Wherever have you been? You need to call Mum, let her know.’

‘I came in as soon as they said I could. There’s no need to call Edith just yet, she’ll only worry.’ Sophia gasped in pain, squeezing his hand with a deathlike grip and Sandy swiftly handed her a breathing tube.

‘Gas and air – entonox. It’s quite safe’ the midwife assured Bastien. By the time Bastien had nodded, the contraction was almost over, and Sophia collapsed back onto the pillows, her eyes a little glazed.

‘You do realise this is twins?’ Bastien queried ‘Shouldn’t there be more staff?’

‘We are very busy tonight, Mr Lykel. As soon as it’s necessary I’ll call for help’ She went to the end of the bed to examine Sophia.

‘You’re dilating nicely, Mrs Lykel. Not long and we’ll be asking you to push. Babies are doing fine and getting ready to come out and say hello.’

‘How are they positioned?’ Bastien asked.

‘Both are head down, so you can deliver naturally if you’d like, Mrs Lykel’

‘Sophia’ she said  testily ‘my name’s Sophia. I’ll do my best but I’m not against pain relief’

‘Of course, Sophia. Do you know the sexes?’

‘Yes’ she smiled, and looked up at Bastien. ‘One of each’

‘Well, it’s hard to tell which one will be making an appearance first, but baby number two won’t be far behind’

‘Bas, can Hana come in?’ Sophia asked ‘We’re may need an extra pair of hands’ He looked at the midwife.

‘As it’s twins, two helpers are allowed in the delivery room as long as all is going  smoothly’ At that moment a doctor entered with a clipboard.

‘Mr Lykel – apologies for the delay in finding your birth plan’ she said as Sandy ducked out of the room to fetch Hana. She looked down at the papers she held, scanning swiftly ‘I see you’ve opted for a natural birth if it’s possible, with minimal pain relief’. Sophia made a little moan in answer.

‘Do I have to do this twice?’

‘Don’t worry Mrs Lykel, the first delivery paves the way for the second. You’ll hardly notice baby number two’ Another contraction hit her, and she grabbed the breathing tube, gulping at it greedily. Her head rolled back onto the pillow as the contraction faded and she gazed up at Bastien, eyes glassy from the anaesthetic.

‘I’d like some Ben and Jerry’s right now. Phish food.’ He couldn’t help but chuckle.

‘Maybe later, theà mou’ He lifted her hand and kissed it. Hana entered with the midwife and went to her side.

‘Hana, you came’ She smiled beatifically ‘You’ll be Auntie soon’

‘I can’t wait to meet your little ones’ Hana beamed excitedly.

‘Oh Hana, that’s so sweet of you’ Sophia winced as the midwife examined her again.

‘Once we get started, things might happen quite quickly’ she warned ‘After all, baby number two is going to want to catch up. At this point it’s too late for an epidural, but as things are going smoothly, Entonox should be sufficient’ Lucy looked startled

‘No epidural?’ she asked ‘Oh, fuck. Bas, what if it gets worse?’

‘Sophia, gas and air will be fine. Remember, it’s what we discussed, it’s safer in the majority of cases’ he soothed, earning a quizzical look.

‘Stop mansplaining, Bas. I’m thirsty’ she snapped, and the midwife took Bastien aside as Hana handed Sophia a cup of ice chips.

‘Don’t worry, Mr Lykel, Lucy’s going through transition. She’ll get very emotional. She may even get abusive. She’s fully dilated, so I’m going to call for assistance.’ He nodded knowingly. He’d done his research and was fully prepared for her to swear and curse and berate him for ever touching her. He knew it would be the hormones talking. He braced himself and went back to the bedside as the room suddenly became very busy with hospital staff. He focussed on Lucy as another contraction hit and she took great gulps of the gas and air again. This was a long one, and she lay back once it had ebbed away, moaning.

‘Whose idea was this?’ she moaned ‘It’s not natural’ Bastien bit his tongue, desperate to point out that it was in fact the most natural thing in the world to give birth – but he wasn’t the one suffering on the hospital bed. ‘I’m never doing this again’ she panted ‘you can forget sex, I’m staying celibate’ Bastien grinned uncomfortably, trying to avoid eye contact with any of the staff. Hana sniggered behind her hand ‘Is it time to push yet?’

‘Not just yet, Sophia’ Sandra assured her. ‘You’ll know when, but I’m here to help’ Sophia gasped as another contraction hit, and took the anaesthetic again. Bastien worried that she was taking too much as she collapsed back on the pillow, but kept his mouth shut, trusting the medical staff. Sophia turned to speak to him.

‘Bas, do you think we’re having twins because of your enormous – you know?’ she hissed, pointing to his groin in a stage whisper that carried right across the room. Hana giggled and reddened, and Sandy looked amused. Bastien coloured and cleared his throat, his smile turning to a grimace. ‘He does, you know, Sandra’ she said, motioning her closer ‘He’s – you know, very big down there. The sex is great. He’s got fantastic stamina.’ Sandra made a strangled noise.

‘I’ve never come across any corelation in size and fecundity or multiple births, Mrs Lykel’ she assured her, when she was able to speak. She took a calming breath, looking at the monitors. ‘Now, I want  you to remember your birthing classes and prepare yourself to push’.

As promised, thing happened very quickly after that. Her next contraction hit hard, and Bastien lead her through her breathing, both elated and scared at the intensity of her experience. She was told to push, and he stayed with her, enduring her tight grip and murmuring words of encouragement. After each bout of pushing she lay back on the pillows, flushed and sweating, swearing that he’d never touch her again.

‘Mr Lykel, would you like to welcome baby? It’s very close now.’ Sandra said at last. He looked briefly at Sophia, torn between staying at her side and being the first to hold their child, but she nodded at him before the next onslaught. He moved down the bed as she strained and cried out with pain and effort, and was just in time to see the baby’s head emerge, followed by its shoulders. Sandra guided his hands so that he caught the warm slippery bundle. He was afraid of letting it slip, but managed to get a firm grip, and the midwife smiled triumphantly. Gazing down at the screwed up indignant face of his child, he felt an overwhelming wave of pure love and adoration unlike anything he had felt before. Time slowed and stopped as he held his own flesh and blood, his face softening into a broad smile. The little mouth opened and let out a roar of protest and rage, limbs flailing.

‘Papa has you, little one’ he crooned soothingly, knowing that first breath showed health and vigour.

‘Congratulations Mr and Mrs Lykel, your first baby is a healthy baby boy’ Sandra announced before handing him the instrument to cut the umbilical cord, and he carefully severed the connection. Briefly she wiped him clean as Bastien maintained his hold, the baby’s yell changing to wails in the unfamiliar environment. He shushed, and the little creature shuddered and quietened a little.

Sophia held out her arms eagerly and Bastien hurried to hand him over to place on her chest, wondering how long she would have before their little girl followed.

‘My little one’ she whispered, tenderly cradling him ‘We’re so thrilled to meet you at last’ She gazed down as the baby fell silent, arms folding over his chest and knees drawing up to meet them, face peaceful and enquiring. Hana sniffled beside her, and Sophia turned to the side. ‘Meet your Aunty Hana’ she breathed, before wincing in pain again. ‘I think your sister wants out’ she gasped, and a nurse swiftly took the baby and whisked him away.

‘Don’t worry, we just need to check him over, but I think he’s absolutely fine’ she assured Bastien.

‘Here’s your little girl’ Sandra called ‘Not long now’, and he went to stand ready, his hands trembling as a second head emerged, Sophia crying out again. She slipped out swiftly, but was safe in her father’s hands in an instant. He was hit by another wave of love and adoration just as intense as the last one, his heart full to bursting. Her cry was reedy and full of complaint and she wailed as he cut the cord, Sandra steadying it for Bastien to juggle his tasks. Both of the babies had seemed tiny in his large hands, both roomy and clumsy all at once.

‘Here, Papa has you safe’ he murmured ‘Come and meet your Mama’ Carefully he relayed her to Sophia. Her face glowed with happiness at holding her daughter, eyes fixed on her as she fussed at the bright light and unfamiliar surroundings.

‘My sweet one’ she crooned, and the baby quietened just as her brother had ‘You’re perfect’. She looked up at her husband ‘Look what we did’ she whispered. He placed his hand on her shoulder and looked down at the newest arrival, tiny fingers waving like starfish, little mouth opening and closing. He kissed the top of Sophia’s head.

‘Theà mou, I love you so much. I’m blessed’ his voice caught, and the nurse returned with the little boy, now wrapped up warmly, and took his sister away to be cleaned and checked. Sophia held her finger out and the baby gaped, little mouth gurning in a half yawn, half smile. Soon his sister was handed back and Sophia cradled one baby in each arm, looking from one to the other in awe. The boy had a shock of black hair like his father’s and his eyes were pale grey. His sister’s hair was black but not as abundant, her pale eyes a shade bluer.

‘How can I ever spend a single second not loving these two?’ she whispered ‘How can I feel so much love for them – and for you?’ Bastien squeezed her shoulder, unable to speak for the lump in his throat. He had never felt so deliriously happy – and scared.

‘Do you have names?’ the nurse asked ‘The babies’ tags just say boy and girl for now. There’s no hurry’ Sophia looked up at Bastien.

‘Theodore?’ she asked. They had a few names picked out but didn’t want to fix them until the babies were born. He nodded in approval, as they had also decided that she should finalise the boy’s name, and he the girl’s.

‘And Beatrice’ he replied, getting a little tilt of his wife’s head in response. He cleared his throat

‘Theodore Costa Lykel and Beatrice Edith Lykel’ he said clearly, the names floating up into the air like a declaration of existence, an acceptance into the world for the two babes. The boy’s second name was that of his foster father’s, the girl’s was Sophia’s mother’s. They could have been Theodore Robert and Beatrice Althea, or the first names might have been different, but as soon as he spoke them aloud they sounded right, and he knew Sophia agreed. She lay propped up, beaming with exhausted happiness as she held her new arrivals. She had never looked more beautiful, her damp hair curling to frame her face, cheeks rosy, and an expression of pure love and joy in her eyes. Sandra cleared her throat.

‘Sophia, we just have to check the placenta, clean you up and make sure all’s well. Perhaps Mr Lykel could take the babies, or we could put them in the cots.’

‘I can help’ Hana piped up, and Sophia nodded. Little Beatrice was closest to Hana, and carefully she took the little bundle, utterly entranced. Bastien took Theodore, making soothing noises as they awkwardly changed over.

‘Can we take them out to the waiting room?’ he asked ‘We’ll come straight back in when you’re ready’

‘Yes, but don’t hand them around’ the midwife answered. ‘New babies are still developing their immune systems, so the less contact with other people outside the family the better’

‘Take care’ Sophia urged ‘I’m not going anywhere’

‘We’ll be back soon, theà mou’ Bastien promised, and he and Hana walked out to the waiting room with his new family.@sirbeepsalot @fluffyfirewhiskey​ @dcbbw​ @kingliam2019​ @katedrakeohd​ @texaskitten30​

[rachelbethhines]

Vintage Shows to Watch While You Wait for the Next Episode of WandaVision - The 50s

So the first three episodes of Wandavision have dropped onto Disney Plus and like me you’re probably already obsessing over it. Also like me you’re probably jonesing for another fix while waiting for more as the episodes only come out once a week. 

But never fear, we literally have decades of cheesy comedy sitcoms to sift through to keep us entertained during quarantine. Along with the occasional action and/or horror stuff  if you’re so inclined. So if you’re trying to decide where to start I’ll be making short lists for each decade that coincides with each episode. 

1. I Love Lucy (1951- 1957)

The granddaddy of all American television sitcoms staring the first lady of comedy herself, Lucille Ball. While not the first sitcom to air, tv had been kicking around since the late 40s, this show did pave the way for many technical innovations for the new medium both on and behind the scenes. As such Elisabeth Olsen cited Miss Ball’s work as one of her inspirations for her role as Wanda in the series, as do many a woman entering into the comedic field. 

Also the show is just flat out funny. One of those rare 50s sitcoms that manages to overcome some of it’s more dated aspects through shear force of personality and peak comedic screwball antics. The only downside is you have to have Hulu to watch it as the copywrite is tightly controlled even to this day.  

2. Amos ‘n Andy (1951-1953)

The 1950s television landscape was overwhelemingly white. It’s no secret that POC had a hard time finding work in the field of entertainment let alone be the stars of the show. Amos ‘n Andy, a spin off of the earlier same titled radio show, was one of, if not the first black led shows on television and so deserves a mention just for that alone. 

Now I will not act as if this show is perfect or ahead of it’s time. The series was controversial even during its day for is depictions of racial stereotypes. Eventually the series was canceled because of protests from the NAACP despite being very popular in the ratings. However I’m a full believer that history should be observed and talked about in order to progress further so check out an episode or two on youtube and decide for yourself if it’s worth remembering or not. 

3. The Adventures of Superman (1952 - 1958)

Ok, not a sitcom, but as we all know, Wandavision isn’t just a sitcom it’s also a superhero show and this is one of the first tv series in this genre. It and the Fleischer Superman cartoons from the previous decade helped to make the juggernaut industry that we know today. 

Plus Superman did an official crossover with I Love Lucy, seriously. 

4. The Adventures of Ozzie and Harriet (1952 - 1966)

Hardly anyone talks about it today, but Ozzie and Harriet is the longest running sitcom to date. It's Always Sunny in Philadelphia being the only other show threating to up seat it come next year. However the two sitcoms couldn’t be any more different. 

The series stared the real life Nelson family who had got their start in radio as comedians and singers who then crossed over into tv. While the show was completely scripted it tried to hew as close to real life as possible, kicking off American’s obsession with platonic voyeurism. Much in the way Wandavision has the meta storyline of being watch in their own home. 

5. Father Knows Best (1954 - 1960)

Another radio to television entry here, however the series drastically changed the main character during the transition. During the 40s radio sitcoms were very biting and sarcastic, often either going the complete surreal screwball route or were satires of the day. This fell out of favor as tv became more dominated by commercials and advertisers feared offending their potential costumers. So things were greatly toned down as the decade progressed. 

Therefore when Father Knows Best hit the small screen gone was the rude and domineering dad and in his place we got the very model tv father; affable, gentle, loving, devoted, and very congenial. All traits we love to see in Vision some six decades later.      

6. The Honeymooners (1955 - 1956)

I physically can not make a recommendation list of 50s sitcoms and not mention The Hoonymooners. I just can’t. It’s one of the greatest sitcoms ever made and hugely influential. So much so that The Flintstones ripped off the series whole sale to the point that Jackie Gleason threatened to sue Hanna-Barbera. However there’s little such influence in Wandvision. 

See what made The Honeymooners stand out at the time and what gave it such longevity is the fact that the main characters were poor. They lived in a cramped and over crowded sparsely furnitured one bedroom apartment in Brooklyn. They owed bills, they dressed plainly, they worked long hours at low paying jobs, and they were often dirty from said work. 

Much like how Wandavision will pull back the curtain a little to see the reality hiding underneath their suburban utopia, so too did The Honeymooners defy the the ‘perfect American dream’ that was soled on tv during the 50s to show us the trauma of poverty and the only thing that you can do when you find yourself trapped within that reality, laugh. 

7. Leave it to Beaver (1957 - 1963)

You can not get any more quintessentially 50s than Leave it to Beaver. The series has become synonymous with the decade and it’s take on the ideal American family life to the point where it’s become a punchline of numerus jokes criticizing the values and attitudes of the era. 

Does it really deserve such mockery? Who knows. I think one needs to watch it for themselves to decide. However it slots right into the aesthetic that the first episode of Wandavision is trying to recreate and it must have been popular for a reason, right? 

8. The Many Loves of Dobie Gillis (1959 - 1963)

We featured wholesome family sitcoms and screwball comedies with married folks but we haven’t covered any surrealist humor yet, and Wandavision is seeped into that sort of stuff. That’s because there really isn’t a lot of fantasy in most 50s sitcoms. So while the trappings for episode one of Wandavision is very 50s the effects and premise is more 1960s. 

That’s where Dobie Gillis comes into play. Like Wandavision, The Many Loves of Dobie Gillis is based off a comic book, or comic strip rather. However that comic was very down to earth and tame compared to the tv show. More fondly remembered as the inspiration for Scooby Doo a decade later, Dobie Gillis quickly transformed from a typical coming of age show about teenagers to a surreal, sarcastic, tongue in cheek comedy, complete with get rich quick schemes, spys, bongos, and a giant chicken. 

9. Bonanza (1959 - 1973) 

Yeah, I know all of y’all are judging me right now. “A western in a sitcom/sic-fi list? What are you thinking?” Well one really can’t talk about 50s television and not mention westerns of some sort. They permeated all mediums and dominated the cultural air waves. And Bonanza is far more than just a western.

Bonanza is literally every thing. It’s every genre at once; western, historical drama, sitcom, action adventure, satire, crime drama, soap opera ,and yes even the occasional foray into science fiction, albeit with a more Jules Vern take than a typical spaceman theming. 

If Wandavision is a melding pot of seemingly disconnected genres then it’s because Bonanza paved the way with it’s similar breakage of formula. 

10 The Twilight Zone (1959 to 1964)

Yeah, you probably knew this was coming. When not being a homage to sitcoms Wandavision is a downright horror movie, but not one with gore and mindless monsters. Rather the show evokes old school surrealist horror, like that employed in the famous (or infamous) Twilight Zone. 

What you probably didn’t know is that we have the I Love Lucy show to thank for it. See Lucille Ball and her then husband Desi Arnaz had created their own production company in order to make I Love Lucy. This production company,  Desilu Productions, is responsible for picking up Rod Sterling’s pilot and producing The Twilight Zone. 

Runner Ups

Good shows that have little to do with Wandavision but are good anyways.

What’s My Line (1950 - 1967)

Just a really fun game show. Stars of the day would sometimes appear on it including many of the sitcom comedians listed above

Have Gun - Will Travel (1957 - 1963) 

One of the very few pure westerns that I can tolerate. The lead actually cares about people and justice and will stand up to bigots.  

Dennis the Menace (1959 - 1963)

While I have fond memories of the 90s film, I thought it was a tad redundant to put on the list when there’s already Leave it to Beaver. 

So there’s the 50s list. On Wednesday I’ll post a list for the 60s and cover some of the more obvious stuff Wandavision was paying homage to. 

[crowdvscritic]

round up // JANUARY 21

New year, not-so-new Crowd vs. Critic! It’s another batch of films, TV, music, and reads that were new to me this month and think you would enjoy, too. As we cozy up inside for the winter, nothing warms you up like a good piece of pop culture.

January Crowd-Pleasers

Wonder Woman 1984 (2020)

Does this sequel reach the heights of 2017’s Wonder Woman? No, but I wish more superhero movies were like this one. I explain why at ZekeFilm. Crowd: 9.5/10 // Critic: 8/10

21 Bridges (2019)

A solid action crime thriller with a solid Chadwick Boseman at the center. Crowd: 8.5/10 // Critic: 7.5/10

The Lethal Weapon Series (1987-98)

I watched the first Lethal Weapon in 2017 for ZekeFilm, but now I’ve a decade’s pleasure of progressively over-the-top action sequences and progressively more absurd ways to destroy Roger Murtaugh’s (Danny Glover) house. The Murtaugh/Riggs bromance holds this progressively sillier series together, and an supporting cast of charismatic actors (Jet Li, Darlene Love, Chris Rock, Rene Russo) are game for whatever comes their way. Joe Pesci is the true MVP. Series Crowd: 9/10 // Series Critic: 7/10

The High Note (2020)

Tracee Ellis Ross’s Grace Davis is a diva in every sense of the word. A high-strung and highly successful singer, she’s also highly demanding of her assistant Maggie (Dakota Johnson), who wants to step out of her shadow and become a music producer. This rom-com-adjacent flick is one of the most fun escapes I’ve had from a 2020 movie, and it’s perfect for a girls’ night in. Crowd: 8.5/10 // Critic: 7/10

Double Feature—Rom-Coms With a Magical Twist: Just My Luck (2006) + When In Rome (2010)

Disclaimer: These movies are not good. In fact, they’re junk, but they’re my kind of junk. In Just My Luck (Crowd: 7.5/10 // Critic: 6/10), Lindsay Lohan loses her life-long lucky streak when she kisses schlimazel Chris Pine. And When in Rome (Crowd: 8/10 // Critic: 6/10), Kristen Bell attracts unwanted admirers (Will Arnett, Danny DeVito, Josh Duhamel, Jon Heder, and real-life future husband Dax Shepard) after she steals their coins from a wishing fountain. To their credit, both of these movies know they’re silly, which means you have permission to just sit back and laugh along with (or, honestly, at) them.

WandaVision (2021)

I sometimes fear for the world of entertainment when I think of how much intellectual property Disney has gobbled up, but WandaVision is evidence the company is a benevolent dictator at least for now. This odd delight is a send up and a tribute to sitcoms like I Love Lucy, I Dream of Jeannie, and The Brady Bunch, and Paul Bettany and Elizabeth Olsen are so charming and weird I don’t need whatever mysterious sub-plot they’re building.

Robin Hood: Men in Tights (1993)

If you want to make the most of watching Robin Hood: Men in Tights, first watch Robin Hood: Prince of Thieves (1991), an action flick I saw last February and didn’t include in my monthly Round Up. This Mel Brooks spoof is a direct response that self-serious Kevin Costner adventure, even down to copying its costumes. While I wish I could find a Mel Brooks comedy with any substantial female character (in every movie I’ve seen so far, the joke is either, “She’s got a great rack!” or “Wow, she’s an uggo!”), I still couldn’t stop laughing at this 104-minute version of the Robin Hood scene in Shrek. Crowd: 9/10 // Critic: 8/10

Aliens (1986)

Peak ‘80s action. Peak alien grossness. Peak girl boss Sigourney Weaver. Crowd: 9/10 // Critic: 8/.510

Big (1988)

After talking about Laverne & Shirley with Kyla on SO IT’S A SHOW?, I had to check out Penny Marshall’s classic. While a few moments haven’t aged so well, its heart is sweet and the script is hilarious. And that Tom Hanks? I think he’s going places. Crowd: 9.5/10 // Critic: 8/10

Unstoppable (2010)

I’ve laughed at SNL’s spoof of this movie for a decade, so it’s about time I got around to enjoying this action thriller very loosely based on the true story of a train that got away from its conductor. Denzel Washington (“You’re too old!”) and Chris Pine (“You’re too young!”) are our heroes in this over-the-top ridiculousness, and their chemistry is so extra it makes me hope they team up for another movie again. Crowd:  9/10 // Critic: 7/10

January Critic Picks

Double Feature—‘90s Space Adventures: Apollo 13 (1995) + Contact (1997)

I have no desire to join Tom Cruise as he films in space, but I know I’ll be pumped to watch whatever he makes because I love sci-fi and space  adventures. Apollo 13 (Crowd: 9/10 // Critic: 9/10) tells the story of an almost-disastrous NASA mission in the ‘60s, and it taps into our hope for the human spirit to overcome obstacles. Contact (Crowd: 8.5/10 // Critic: 8.5/10) surmises what might happen if we received communication from extraterrestrial life, and it taps into our struggle to reconcile faith and science.

McCartney III by Paul McCartney (2020)

I spent January catching up on the albums on Best of 2020 lists, and the one I listened to for hours and hours was Paul McCartney’s latest solo album. Catchy, thoughtful, and musically surprising, it ranges from pop to rock to folk in 45 minutes and still feels like it’s over too soon. Like Tom Hanks, this Paul McCartney guy is going places!

The Thin Man Series (1934-47)

Like Lethal Weapon, I watched the first installment of The Thin Man awhile back, and Kyla and I even covered the series on our podcast. But thanks to a full series marathon on TCM earlier this month, I’ve now laughed through all five. When you talk about great chemistry, you’ve got to talk about William Powell and Myrna Loy, who make Nick and Nora’s marriage feel lived in and romantic as they solve crimes together. Witty, suspenseful, and jaunty, this series is still sexy cool over 80 years later. (Also, Asta? Still one of the cutest dogs in cinema.) Series Crowd: 8.5/10 // Critic: 8.5/10

The King and I (1956)

Here’s your regularly scheduled reminder Hollywood works differently now, and many casting decisions of the ‘50s wouldn’t fly today. What has aged well in this film: The Rodgers and Hammerstein music and the sumptuous costumes and set design. I love extravagant musicals of yesteryear—perhaps it’s time for Hollywood to revisit and remake The King and I for modern audiences?

Inauguration Day

In a year with no major televised events with celebrities in a room together, Inauguration Day felt like the most exciting cultural event in ages. We’ve been missing major fashion, but then we got Lady Gaga! We’ve been missing live performances, but then we got Amanda Gorman! And I got a lot of tears during that poem—not just me, right?

Good Reads

Writing that made me think and smile this month:

Steven Soderbergh’s list of everything he read, watched, and listened to this year, Extension765.com (2020) – An indirect inspiration for these monthly Round Ups!

“My Year of Making Lists,” NewYorker.com (2020) – I made a lot of lists in 2020, so I feel this author’s #mood

“Betty White Says She Will Spend Her 99th Birthday Feeding Two Ducks Who Visit Her ‘Every Day,’“ CBSNews.com (2021) - “Betty is a treasure,” I say as I watch The Proposal for the 99th time

“A Sculpture’s Unusual Journey to SLAM [St. Louis Art Museum],” SLAM.org (2020) – With a casual mention of an attraction I never knew about in St. Louis

“The Culture Is Ailing. It’s Time for a Dr. Fauci for the Arts.” WashingtonPost.com (2020) – An idea that occurred to me a few months ago: Why don’t we have an Arts Cabinet?

“The Arts Are in Crisis. Here’s How Biden Can Help.” NYTimes.com (2021) – Partly in response to that Washington Post piece, a historical look at how artists have made it through difficult times in the past and how we can revive artists’ livelihoods mid- and post-pandemic

“The Right’s Message to Silicon Valley: 'Free Speech for Me, But Not for Thee,'” TIME.com (2021) – A more thoughtful and less reactionary take on a volatile moment in the history of modern technology

“'It Makes Me Sick With Grief': Trump's Presidency Divided Families. What Happens to Them Now?” TIME.com (2021) – A study on how politics has done damage to family dynamics in America

“Help, the Only Cinema I Can Handle Is Zac Efron Prancing Angrily in High School Musical 2,” Vulture.com (2021) - In a lot of ways, same

“50 Easy Things To Do When You are Anxious,” ShopTwentySeven.com (2021) – I especially endorse coloring, puzzling, and watching happy movies!

Double Feature—Miss Marple Mysteries: Murder at the Gallop (1963) + Murder Ahoy (1964)

Remember when I was all like, “Watch these Agatha Christie movies so you’re not sad Death on the Nile is delayed”? Remember when I said I was just a few movies away from becoming an Agatha Christie junkie? Well, I think I’m there because I can’t stop with the murder mysteries! Margaret Rutherford is a treasure whether she’s solving a murder at a horse ranch or on a boat, and a cast of colorful supporting characters (including Rutherford’s husband) makes these breezy instead of heavy. Crowd: 8/10 // Critic: 8/10

8½ (1963)

File this with 2001: A Space Odyssey—I don’t know if I really understood this film, but I think I liked it? Federico Fellini’s surrealist, male gaze-y drama blurs the lines between reality and imagination, love and dysfunction, and the past and maybe some future that involves clowns? What resonated with me was the story of a director with creative block, wondering if he’s already peaked and if he’ll create anything worthwhile again. Crowd: 6/10 // Critic: 9/10

Sense and Sensibility: The Screenplay and Diaries by Emma Thompson (1995)

Sense and Sensibility is not just one of my favorite Jane Austen adaptations—it’s one of my all-time favorite films. One of the co-hosts of one of my favorite podcasts has raved many-a-time about Emma Thompson’s journals from the making of film, so it was only a matter of time before I read them myself. Witty, informative, and all-around lovely, Thompson’s journals are an excellent insight into the filmmaking process and how novels are adapted.

Also in January…

I reviewed the new-ish documentary Flannery for ZekeFilm, which is all about the writer Flannery O’Connor and feels a little like going back to high school English class.

In addition to the Lethal Weapon and Thin Man series, I rewatched all of the X-Men series this month. You can see everything I am watching on Letterboxd, including favorites I love returning to (i.e. X-Men: Days of Future Past) and the movies I try that don’t make my monthly recommendations (i.e. The Wolverine).

Photo credits: Paul McCartney, Zac Efron, Sense & Sensibility. All others IMDb.com.