#only because you can't get enough colin firth

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Brigerton Round-Up

Ok, so I have read all of the Bridgerton books I care to at this point, but my reviews are spread across this blog and possibly like a year of time??? So I thought it would be fun to bring them all together in a single post!

All of these reviews were written between S2 and S3 of Netflix's Bridgerton Series, so bear that in mind when you're wondering why I haven't talked about all the seasons!

Content warning for some misogyny and discussion of sexual assault.

Also...THERE ARE SPOILERS HERE.

The Viscount Who Loved Me

There comes a point where a girl can't deny she has engaged in a fandom. It probably is well before you start writing fic (you can find The Polin Fic on Ao3), but y'know, here we are. Let's talk Bridgerton.

Ok, couple things right off the top.

We are not dealing with either The Duke and I or S1 of Bridgerton on Netflix. We are not dealing with *THAT* scene and it's complete disregard for consent. Find that somewhere else on the internet, it's a big place.

We are literally only talking about The Viscount Who Loved Me and Romancing Mr. Bridgerton. They're the only books I've read, and at this point they're the only books in this series I care to read. That means we'll also chat about S2 of Netflix's Bridgerton.

Ok, with the ground rules established, let's jump on in!

I think the reasonable place to start here is with Kate. I watched Bridgerton the Netflix series before reading The Viscount Who Loved Me, and Kates Sheffield and Sharma are objectively not the same woman. They wouldn't even LIKE each other. Kate Sharma is self-assured, confident, driven, and quite frankly, a force of nature when she wants to be. Kate Sharma understands that not only is she a grown ass woman but also that if she does not get in gear and go for her goals, they ain't happening. You guys, I freaking love Kate Sharma.

By contrast, Kate Sheffield is a blond, blue-eyed, infantilized debutante with some serious unresolved PTSD. I was not at all sorry to see that Shondaland did away with THAT library scene and THAT bee sting scene. I think that the show did both of them way better, and I will never be mad when an adaptation takes an adult female character and lets her ACT like an adult. I also appreciated the shift from creepy Anthony trying to *checks notes* suck the venom out of the bee sting to a full-blown panic attack. It subverted a highly gendered trope and put both Kate and Anthony on a much more even and human footing. It was also--and I cannot stress this enough--so much LESS CREEPY than the book scene. Anthony describing what he was doing in detail while the reader is told but not shown that he's panicky left several different flavors of bad taste in my mouth. Kate Sharma showing actual dimensionality in her strength in the show in this scene as Anthony goes fully nonverbal is objectively a stronger scene that does far more to develop the characters.

Generally speaking, Anthony Bridgerton is Anthony Bridgerton in both the show and the book, with maybe some of the high-and-mighty, self-righteous edges sanded off for the show. He's a regency era Viscount, there's not a whole lot you can do with him in adaptation. Show Anthony is my preference because he has some of the high-handedness sanded off, and because Jonathan Bailey is extremely nice to look at. I don't even hate the S1 (*gasp* she mentioned Bruno!) sideburns and hair, they had a very 1995 Colin Firth as Mr. Darcy vibe that I was willing to lean into. I honestly don't have a whole lot else to say about Anthony, so let's move on and hope that maybe we get an S3 release date before I get to the end of this post. (Spoiler Alert: We did not)

An Offer From a Gentleman

Dearest Gentle Reader, I suppose if you play with fire, you do eventually get burned. This Author has finally been burned by a Bridgerton novel. --Lady Bookshelf's Society Papers, 7 June 2023

So uhh...yeah. We gotta talk about Benedict Bridgerton. And we gotta talk about what the actual hell happened between book and Netflix series, because I found the series before the book, and even knowing that the characterizations were different, this book was JARRINGLY different, and not gonna lie, I absolutely cannot stand book Benedict and I fully do not understand the Benophie appeal. Now that I've finished painting a target on my back, let's talk An Offer from a Gentleman.

Ok y'all, I have recipts for this one, because book Benedict was basically a "too aloof and edgelordy to give a damn" and he really, REALLY needed to stop telling Sophie she was stupid or thinking too much. He also was hideously high-handed about blackmailing, coercing, and passive aggressively manipulating Sophie into doing the closest possible thing he can make happen to what he wants. He can't hear the word "no." His art seems somehow less important to him than the bowl of rocks at the cottage.

Show Benedict is a sweetheart artist with a wicked sense of humor and a real damn good sense for his siblings' moods and needs. I like show Benedict. I was prepared to yeet book Benedict off a cliff.

So real quick before this descends into incoherent screeching, I just need to point out the section where Sophie leaves the Cavendar's house during a party that is SUPER not safe for her. The "male lead saves the female lead from getting raped" is not my favorite trope in the world, but I'm not here to shame anyone for rescue fantasies. What I am here to do is explainin why Benedict is the WORST POSSIBLE EXAMPLE of this trope. I'm just gonna go ahead and put the passage up here, for ease. This is Benedict's reaction to seeing Sophie is an objectively scary situation:

Cavender was standing under a stately old elm with two other gentlemen. They appeared to be having a bit of fun with a housemaid, pushing her back and forth between them. Benedict Groaned. He was too far away to determine whether the housemaid was enjoying their attentions, and if she was not, then he was going to have to save her, which was not how he'd planned to spend his evening. He'd never been particularly enamored of playing the hero, but he had far too many younger sisters--four, to be precise--to ignore any female in distress.

WHAT THE HELL IS THIS REACTION??? What is this "ugh, I guess I HAVE to step in, what a pain in the ass FOR ME" nonsense??? This is not allyship, this isn't even--as Benedict tepidly says--"having sisters," this is just "ugh, I guess I have to be a hero, how annoying."

If you're going to do the rescue trope, it kind of works better if your leading man gives a rat's ass. Like, give him a strong position on rape being bad. Give him a motivation. Give him something other than an eye roll and vague irritation that he has to do the thing! He's not even particularly T-ed off with the guys in this situation, it's just...and event. That he has to deal with. Like going to the DMV or something.

Can we PLEASE not do this. This is gross, it is bare minimum, and frankly? It's the least interesting version of this trope. I wasn't a Twilight girl, but the scene where Edward rescues Bella from implied gang rape was done better than this moist tissue of a scene purely because HE GIVES A RAT'S ASS ABOUT BELLA.

Bare freaking minimum, your romantic leads have to have strong feelings for each other. Those feelings can be positive or negative, depending on whether or not you're doing enemies to lovers, but the feelings have to EXIST. And when you're dealing with limited third omninscient narration, the character in who's head you are should probably have stronger emotions than *eye roll* to keep it interesting for the reader!! We know Sophie is already in love with Benedict at this point in the novel, but we aren't in Sophie's HEAD just now.

I'm basically out of coherent things to say about this book, so let's just go over key examples of other things in this book that made me rage. It's not every instance, but it's a selection of demonstrative examples.

Let's check the receipts:

She shot him an arch look. "Horse races are almost always silly." "Spoken just like a woman," he muttered.

And just WHAT is wrong with speaking like a woman, Benedict??? Is it maybe because you think they're somehow LESSER than men???

"Sophie," he said, "I can practically see the steam coming out of your ears. Stop taxing your brain with useless mathematical computations and do as I asked."

TAXING HER BRAIN, BENEDICT??? Let the woman think for her own damn self for five seconds!

"His chin jutted out belligerently. "You're not supposed to be thinking. That's the point of of it."

LET. HER. THINK. FOR. HER. OWN. DAMN. SELF.

"You bloody fool," he swore. "Do you have any idea how dangerous it is in the world for a woman alone?" "Er, yes," she managed. "Actually I do. If he heard her, he gave no indication, just went on about "men who take advantage" and "helpless women" and "fates worse than death." [...] About halfway through his tirade, she lost all ability to focus on his words. She just kept watching his mouth and hearing the tone of his voice, all the while trying to comprehend the fact that he seemed remarkably concerned for her welfare... "Are you even listening to a word I'm saying?" Benedict demanded.

YOU SPENT THE WHOLE BOOK TELLING HER NOT TO THINK AND NOW YOU'RE MANSPLAINING CLASS TO HER??? SERIOUSLY???

"Don't you ever call me stupid," she hissed. " Benedict blinked, trying to get his eyesight back to the point where he only saw one of her. "I wasn't--" "Yes you were," she replied in a low, angry voice."

Oh, yes, call her stupid. That's a GREAT way to get in any woman's skirts, Benedict. (Please excuse me while I scream incoherently into a pillow in rage.) Punch him again, Sophie.

"I didn't save you from Cavender just to let you squander your life away." "That isn't your choice to make." She had a point there, but he wasn't inclined to give it to her. "Perhaps," he allowed, "but I'm going to make it, anyway."

Wow, so you do ONE DECENT THING and suddenly you own her life??? PUNCH HIM AGAIN, SOPHIE. And no, gentlemen, going "oh shit, I am actually being a huge dick here" and then DOING THE THING ANYWAY does not earn you any points.

"I didn't want--" "You don't know what you want," he cut in. It was a cruel statement, condescending in the extreme, but he was beyond caring. She'd wounded him in a way he hadn't even known was possible, with a power he'd never dreamed she possessed.

ACTUALLY SHE DOES KNOW WHAT SHE WANTS, BENEDICT, BECAUSE SHE IS A HUMAN PERSON WITH AGENCY!!!!!! AND SHE HAS SAID NO TO YOU LIKE FIFTEEN TIMES!!! Dear god, someone throw this man back in the lake and hold his head under.

"I didn't think," she whispered, more to herself than to him. "I know." He smiled. "I know. I hate it when you think. It always ends badly for me."

FOR FUCKS SAKE-- *screams in impotent rage while channeling Beatrice's "would eat his heart in the marketplace" vibes*

So...I actually don't recommend this book. Don't read this one. Just enjoy show Benedict and we can all collectively pretend that the book didn't happen.

Romancing Mr. Bridgerton

I actually thoroughly enjoyed the fluffy confection that is Romancing Mr. Bridgerton, which makes it much harder to talk about than The Viscount Who Loved Me. I suppose the biggest difference between the book and what the show is setting up for Polin is in the stakes. The book stakes are arguably extremely low; the consequences for being Lady Whistledown in the book are essentially a round of polite applause and some deep-seated rage that Cressida freaking Cowper would dare to take credit for Penelope's work. And frankly, I was 100% with Penelope on that one. The show cannot possibly roll with that ending (or if they do, they're going to disappoint everyone) because Penelope has pissed off a reigning monarch, and that has, historically, gone poorly. So I think the show is setting up to give Colin real, concrete reasons to be pissed as hell when it comes out that Penelope is Whistledown, and to actually make the pair work for their romance. And for all I enjoyed the fluff in the book, I am a sucker for multiple layers of increasingly high stakes and I hope the show really goes ham on the payoff for this setup. Frankly, I want Colin to be absolutely furious with Penelope and still ready to sneak her out of England if the Queen decides that Lady Whistledown is too dangerous to leave at liberty.

In terms of how Colin himself changes in the show, I'm fairly cool with the "I am a bottomless pit where is the food" aspect of Colin's character being quietly left behind. I think we can do more interesting things with our male characters than that. However, like many of the people who have both read the book and kept up with the show, I am WORRIED about how much Colin's writing has been downplayed. Yes, he and Penelope have a correspondence, and clearly they mean a lot to each other, but writing letters does not necissarily set up Colin's journals and the writing relationship that the two develop in the book. It's so, so wildly uncommon for game to recognize game and form a partnership of equals in skill in regency romance novels, and that was one of the things I loved about Romancing Mr. Bridgerton. I also loved that Colin, not Penelope, was the less experienced newbie of the writing partnership.

Not that the book didn't complicate this issue, because Julia Quinn didn't hesitate for a millisecond to slot Penelope into the historical role of "uncredited, unpaid, and historically unknown editor and 80% of the reason that history remembers the husband who's name is on the cover of the book." And that SUCKS for Penelope.

That takes me really smoothly into the thing that I love most about what Nicola Coughlan brings to Penelope in the show. She has an edge, a little more willingness to take risks, and that really makes me believe that the Penelope of the show could be behind the edgier, sharper, WAY riskier Whistledown. I am excited to see what they do with Polin in S3!

When He Was Wicked

Ok, as a Bridgerton book, When He Was Wicked was UNUSUAL. Given how tightly knit and very much there for each other the Bridgertons are (although I admit, this might be show bias affecting my reading), the fact that Francesca was, for the most part, isolated up in Scotland and very separate from the rest of the family was odd. It really allowed us to see what a Bridgerton-raised person would do when their back was to the wall and they were more or less alone.

Add to that the fact that most of this book is Francesca's second season and second love and that she gets to have actual EXPERIENCE and CONFIDENCE and not be your bog standard romance ingenue meant that this was a refreshing change of pace. I also would be absolutely remiss to point out that this novel went unapologetic on the fact that Francesca knows a little something about sex and her own body and that she has zero doubt that her needs, wants, and pleasure are important and that she can (and does) ask for what she wants with Michael. That's something that contemporary 2023 still really struggles with, so props to Julia Quinn for making it clear that Francesca can, should and DOES have a voice that matters during sex.

I also want to say that while Francesca wanting to be a mother so badly that she goes for a second season often gets side-eyed or openly pooh-poohed for being anti-feminist, breeding kinky, or somehow lesser, I would say that while the "All I want in the world is to be a mother" is complicated by the regency setting and the gender roles and expectations imposed on women whether they wanted them or not, Francesca is a widow for most of this novel, and widows historically had more (not complete, this isn't perfect) choice about their remarriage, and had Francesca not wanted to, she didn't have to remarry. So I'm willing to give this book the benefit of the doubt that Francesca actually DOES want to be a mother, actually DOES want children, and making the choice to remarry to have kids is an active, intentional choice on her part. Motherhood isn't for everyone, and that's 100% fine. But we shouldn't shame people who do want it, and I think a generous read of this book puts Francesca in that camp without some of the weird vibes and setting complications that you get with Daphne.

Again, none of this is wholly unproblematic, and there are arguments to be made that social conditioning overrode any choice Francesca could make. However, that's a deeply cynical read of a fun, fluffy romance novel, and I'm not here to shame people who can get pregnant for their reproductive choices, whatever those may be.

Michael is, in the grand tradition of non-Bridgerton love interests, fairly bland. His whole thing is being the merry rake, which, like, whatever. That's fine. I'm not like, terribly enamored of his full-on BAILING on Francesca for like three years after her first husband unceremoniously drops dead. I'm also not super enamored of his whole "did I secretly cause my cousin's death because I was coveting his wife and now I can never be with Francesca because I don't deserve her for killing my cousin" schtick, but this is Bridgerton so the absurd drama is pretty par for the course.

The reason to read this book really is Francesca, and Francesca finding her feet as a more mature heroine than we typically see in these books. I was very very much here for Francesca, and I hope that if the show gets this far, we really do get to see how Frannie is different from Daphne, Eloise, Penelope, and Hyacinth.

It's In His Kiss

This is now the fifth Bridgerton book I've read, and I actually have to say that while it's not my favorite of the series, it was a nice change of pace. Hyacinth and Gareth feel like they spend more time together as a couple really getting to know one another, which honestly was not really the vibe of previous couples. Anthony was too wrapped up in waiting to die, Benedict was too busy being shitty Prince Eric and generally devaluing all women everywhere, and Francesca and Colin were working through dead spouse trauma and a variation on professional jealousy, respectively. Hyacinth and Gareth just like each other, and Gareth was refreshingly brief in his daddy issues in favor of seducing Hyacinth and realizing that whoops, he actually meant it. So frankly, Gareth and Hyacinth feel more like they are actually good friends. And as a Polin Stan, that is a little heartbreaking to say, since Polin was supposed to be the friends to lovers storyline and as far as the books go, I actually think Hyacinth and Gareth feel more friends to lovers. Polin is more she fell first, he fell harder, which is a great trope but it's not really friends to lovers.

I swear I'm not going to be low-key disappointed about Polin for this whole post though, because in addition to Hyacinth being genuinely good friends with Gareth, we get her friendship with Lady Danbury. And THAT friendship is an absolute delight, although Jukia Quinn might be flying just a TAD close to the sun by spoofing bad romance books that we read to mock in her series of borderline read-to-mock romance books. This is very akin to my feelings about Penelope getting weak-kneed over Colin's writing talent because he described the temperature of the Agean Sea as half-hour old bathwater. Like, I get what you were going for emotionally, but on a very realistic level, you fell flat on your face and your skirt rode all the way up so you flashed your panties at people by accident, and not in a kinky way. Not that that makes Hyacinth and Lady D's dynamics any less wonderful, it's just one of those "my eyebrows were raised while I was smiling" things. We cannot help but love Lady Danbury.

I also just want to call out the objectively hilarious scene where Gareth goes to ask Anthony for permission to marry Hyacinth and Anthony completely blows the tone with his combination "YES ALL MY SISTERS ARE MARRIED OFF I AM KING" and "hurt her and I won't kill you, I will make your long life a living hell" reactions. I enjoyed this Anthony.

Now, having noted what I enjoyed about this book, it wouldn't be a Bridgerton novel if there weren't also a couple of things that I feel the need to call out as WILDLY WTAF. We're gonna go ahead and start with the prologue, because we need to take a minute and ask ourselves why the actual hell the girl Lord St. Clair was trying to force Gareth to marry had to have a mental disability, and why the hell we needed Lord St. Clair's "kick the dog" moment to be telling his son to rape a vulnerable woman. And that's before we even get into the issues with the rampant asexual objectification and infantilization of disabled people, and how that plays into wildly ableist tropes throughout literature. And the worst part is, this adds literally nothing to the story. We do not even see this character on the page, she is just briefly mentioned twice in the novel and is literally not even an obstacle. This didn't have to be casually thrown in and frankly I saw ten different shades of red when I was reading it. Honestly, it's one of hose thoughtlessly, pointlessly ableist things that causes real harm in the world and I am not here for it.

The other WTAF thing about this book is the fact that Gareth plans to "ruin" Hyacinth. I'm not gonna go do ar as to say there are consent issues here, because to say that would be to wildly and willfully misrepresent their relationship and I'm not going to do that. But I'm not wild about the perpetuation of the idea of virginity as some magical thing that can be taken from a woman and tbat devalues her. And yes, I know, it's it's regency romance. But I can understand scenes-a-faire and still not like it. Which I do not, because it says more about the level to which Gareth initially values Hyacinth than anything else, and you shouldn't have to devalue your SO to feel worthy of them. That is some toxic bullshit, do not do it.

Overall, though, this book was pretty cute and it was heisty, and I am a bit of a sucker for a good heist. Insofar as I recommend any Bridgerton novel, this one was pretty fun.

On The Way To The Wedding

It is a truth universally acknowledged that a hot romantic regency male lead must be in want of a more intelligent heroine. But even given that, Gregory flippin' Bridgerton strains credibility about how obtuse he is throughout this book. Anthony might have been lying to himself and deeply traumatized, Benedict might have been a chauvinist dickhead, and Colin might have been a golden retriever, but none of them were so vacuously vague as Gregory managed to be. That's not to say that I didn't enjoy this book; there were chunks of it I found thoroughly amusing. So let's talk On the Way to the Wedding.

I guess we might as well start with Gregory, because holy cow there was no critical thought in this man's head. He literally did not hear a thing Lucy said to him the night before her wedding to Haselby, because AS COLIN POINTED OUT while he and Gregory were *checks notes* SITTING IN A TREE SPYING ON LUCY'S HOUSE, she did not actually ever at any point say that she wasn't going to marry Haselby, she just made bland statements and let Gregory hear what he wanted to. Like, Greg. Sweetie, honey, friend, she did not explicitly say she was calling off the wedding, and you KNOW she would have if she really intended to. You were thinking with the wrong head, my dude, and frankly it's on your own dang head for being so shocked the next morning.

But on top of having cloth ears when it comes to hearing "no," Gregory managed to talk himself into being in love with Hermione and out of being in live with Lucy. And this is AFTER separate sit downs with Anthony, Kate, and Violet that collectively tell the reader (and should have told Gregory, except he has cotton wool instead of a brain inside his skull) that Gregory has exactly zero connection with reality, no drive or ambition, and has had so much handed to him in life that he won't extend effort to get something that isn't handed to him. Quite literally, my reaction was, "Aww, Lucy gets the second-worst brother. She and Sophie should get together and start a support group." So Gregory and Benedict are super not my favorite Bridgerton Brothers.

One thing about Gregory that was well set up and paid off and used fairly humorously throughout though, is his complete inability to hit anything he aims at with a firearm. I was impressed that he was not toxically masculine about that, and the fact that he nonfatally shot Uncle Richard at the end was well executed, and Lucy telling her Uncle that he is lucky Gregory can't aim for shit actually got a laugh from me. It was very good. AND it established that all four Bridgerton girls can shoot as well, so at some point I want a pall mall game settled via target shooting. My bet is that Eloise thinks she's the best shot, Francesca actually is, Hyacinth does trick shots just to piss off Eloise, and Daphne is scarily efficient as a markswoman.

However, what really kept this book interesting were Lucy and the CW drama-esque plot, because I did not see "oopsie poopsie, did a treason, and now my neice has to marry my blackmailer's gay son" coming in the Bridgertonverse, but here we are, I guess.

Lucy falls into line with Penelope and Sophie in terms of women who are head and shoulders more competent than the Bridgerton man they married, although admittedly Lucy has less personality than either Penelope or Sophie. Lucy is a people manager and pleaser, and she is extremely organized. She also has some excellent one-liners and is more than smart enough to wrap Gregory around her little finger when she needs to.

Unfortunately, she couldn't talk Gregory's stubborn streak out of tying her to a water closet (seriously, what is this, a regency Criminal Minds episode???), which is how we get the big reveal that it's her Uncle, not her father, who committed treason. It's also how we somehow end up with Uncle Richard holding a gun to Sophie in a random bedroom before her marriage to Haselby was consummated, which... Richard. Honey. What was the plan here??? You needed that girl legally and permanently married before Davenport gave up the blackmail. Why are you holding a gun on her right now??? What the hell was the way out of this room of you hadn't been interrupted by the husband squad and their two guns? Weird time for a power trip, is all I can say. You might as well have gotten caught monologuing for all the sense this scene setup made.

And Gregory once again proves that he is a COMPLETE IMBECILE because if you spend an entire book announcing repeatedly that you can't hit the broad side of a barn, why on God's little green earth do you take the shot at a man holding a gun to your love's head? You're as likely to hit her as him! He got lucky because plot armor, but he wasn't the only man in the room with a gun, Lucy's very angry brother ALSO had one, and he was almost certainly a better shot than Gregory. Nobody is exercising critical thought in this scene, is all I'm saying.

Now, for all my criticisms, if you suspend your disbelief, this whole scene is VERY fun, and in principle I quite enjoyed it. Sometimes you have to meet a book where it's at, and in this case it was at CW-esque dramatic farce. So this book was very fun for what it was.

OOH and before I wrap.up and forget: Hyacinth gets to be totally furious in this book, and holy cow I wish we got Hyacinth in a decade st some point, because she would have been show Lady Danbury's equal but more spitfire, and I love that so much for all of us.

This is definitely the last Bridgerton book I'm reading because I have no desire to deal with Daphne or Eloise's books. That said though, the books I have read I was largely either pleasantly surprised by or thoroughly entertained, and really you can't ask more of these books than that. Book Benedict still sucks though.

[firthbetterorfirthworse]

2001 P&P - Bridget Jones Diary

I am only watching this again for two reasons - 5% because it is on my P&P screen adaptations list and the idea of skipping over it gave me an unhappy tummy, and 95% because it involves 40yo Firth (yes please)

Don't get me wrong, I love Renee Zellweger. I just... do not love Bridget Jones. I can't relate to her as a character. Look I have made had some truly, truly terrible choices in men in the past, trust me. And Hugh Grant is a smarm machine that ooooooozes charm, I get it. But COME ON, catch on Bridget. You have been on the dating scene for how long and you can't figure out that he's hiding the fact that you're hooking up??

I do enjoy that she gets to give a very satisfying public setdown to Wickham Cleaver. What I REALLY appreciate is that this movie lets Darcy talk, which unleashes what an absolute Sass Unit he is Jones: "What are you doing here?" Darcy: "I've been asking myself the same question" "Oh, is he a friend of yours Mark?" "Absolutely not." "I just hope he's good enough for our little Bridget." "I think I can say with total confidence, absolutely not." "How is it?" "Great...It's um, blue." "Blue?!" "No, but blue is good. If you ask me there isn't enough blue food."

Plus, you know, a solid 30+ seconds that are just a closeup of Colin Firth kissing, which, yes I'm very much okay with

(Also Colin Firth did not get wet, but Hugh Grant did. Is this a genre trope I've been completely blind to until this year??)

[mermaidsirennikita]

Which are your favourite proposals in historical, modern romance and movies?

Omg, fun!

For movies, I immediately have to call out Crazy Rich Asians. The moment when the ring was revealed, I remember this audible gasp in my theater (including me and my mom). Such a great way to close a loop in a movie, while being super romantic and swoony.

Obviously, Pride and Prejudice 2005. I prefer the way Joe Wright did it not only to the 90s miniseries, but the book as well. The rain adds to the atmosphere and passion, the anger and tension is palpable, the way the mood changes when McFadyen goes "Mr. WickHAM", the almost kiss. So good.

For all that there is some content that hasn't aged the best, Colin Firth's proposal in Love Actually was primo. The language barrier was used perfectly, and of course the reveal that she'd been learning English while he was learning Portuguese.... adorable.

This is technically in a miniseries, but it's piggybacking off two movies, so I'll mention it... When Q tracks Shelby down in The Best Man: The Final Chapters and does a grovelprosal??? So good. Like, you watched these two, objectively the most caustic and like... edgy? People in the series, dance around each other with random hookups (and a secret baby lol) for years, and he finally has to completely debase himself in front of a bunch of watching women who are like, filming this shit, begging her not to leave... So fucking satisfying.

For books, I would have to say....

The Bride Goes Rogue by Joanna Shupe and The Duke Gets Even both have really good proposals, and neither one goes well for the men in question for very different reasons. Preston's in Bride is honestly a bad proposal because he's a broken human being who doesn't know how to accept that he loves Katherine and needs to be with her, and she's like "I deserve better than 'we should get married because we make sense and the sex is bomb'" and just sweeps out and leaves him like a broken man. Whereas Lockwood in Duke is completely in love with Nellie (him being like "I fucking worship you and am completely incapable of getting anything done when you're not here because it's like my arm's been ripped off or some shit" is.... amazing) and completely capable of expressing that love, but she cannot accept it. And he knows this. But he has to try anyway because he's SO in love with her.

Something Fabulous by Alexis Hall has a great one where Valentine proposes to Bonny when he's like, hiding in a tree or something. And he's basically like "listen it's Victorian England and we're both men so it can't be legal but I want you to be whatever a husband is for me and this is VERY DIFFICULT FOR ME TO EXPRESS". It's adorable.

Enzo like... grovelprosing to Gia in Mafia Madman by Mila Finelli is so deranged. It's like, a quick kidnap (that's their love language), a "I can't breathe without you FORGIVE ME", a negotiation of what she needs out of the relationship (a huge ring, a long engagement, maybe a vasectomy from him because she's not sure if she wants kids, and freedom to have her career) and him being like "YES FINE WHATEVER" because he's realized he needs her like air, lol. My beloved garbage people.

The thing in A Kingdom of Dreams by Judith McNaught where it's really less a proposal and more Royce taking Jennifer to the priest and being like "marry us, neither of you have a choice and I don't wanna be here either". And then he calls her a bitch. I loved that.

There are like... three? Proposals in Sierra Simone's New Camelot trilogy (one of which is accepted) and then sort of like an on the spot private spiritual wedding ceremony with what I guess is a proposal right before? And I loved all of it. There's so much angst and so much intense longing in those books. So many times for my boy Embry to get proposed to and go "I'M NOT GOOD ENOUGH TBH".

OOOh I loooove the proposal in The Long Game by Rachel Reid. There's such a great buildup to it, and it's so romantic, and I also love that Ilya and Shane go from this big emotional sappy proposal to fucking on the floor immediately after. Good for Them.

[drea-exclusives]

Week 9 — My Comfort People

Earlier this week, I discovered that we are on the last 2 weeks of this weekly journal assignment. It was so bittersweet knowing that it was coming to an end as I've had so much fun thinking, writing, and reflecting on all these aspects of my life throughout the semester. As one of the final entries, this post is dedicated to my comfort people, who play an integral role in my life and have made me the person I am today.

.・。.・゜✭・.・✫・゜・。..・。.・゜✭・.・✫・゜・。..・。.・゜✭

I don't really know how else to begin other than to say that this bunch are some of my favourite people and have been for many years. We all met during our first year of high school, and although it hasn't always been this exact group of people, we found our circles merging together post-spm, and that's how it's been ever since.

I can't emphasize enough that when I am with them, I am the most genuine version of myself. There were a handful of times throughout my adolescent years when I found myself questioning if I belonged in previous friend groups because I felt out of place, as if I wasn't meant to be there. But whenever I'm with them, I'm at ease because I know that I'm accepted and cared for, and I can therefore exist in peace and be completely myself when I'm with them.

Not just that, but as we've been friends for so long, we've seen each other at our bests and worsts, as well as throughout the many other versions of ourselves during our developmental years. There's something so healing and endearing about knowing that these people have seen all your faults and mistakes, yet they have stuck by you until now. These friendships are so rare, and because of that I am eternally grateful to have met these people and been apart of their lives all these years.

This is one of my favourite quotes about friendship because it is put so simply, yet it is so accurate. Now that we're all in university navigating our lives and transitioning into adulthood, we only get to see each other on special occasions or when our schedules align. As time went by, I found that it's in the particularly tough moments in life when I miss them the most and long to meet them, because they are the only people who I feel would understand me; the only people I wish to seek comfort in sometimes.

And because of that, the times that we are able to meet and the effort put into being there for each other is so much more meaningful. I am so thankful for the times my friends have travelled or arranged to meet me when I was going through rough patches in my university or personal life. I don't express it much, but they have saved me in so many ways they aren't even aware of.

By the end of August, 2 of my friends will be leaving to study abroad. And although I haven't even processed it in the slightest, writing this entry is making me realise how soon the time is going to pass by and how much I'm going to miss them. But at the end of the day, I am incredibly proud of them and excited on their behalf of this new chapter they are about to embark on. And I hope that regardless of whatever we face on our personal journeys, we will always have this safe space to return to when life gets too much, where we can gossip, share experiences, and grow together as the years fall away.

.・。.・゜✭・.・✫・゜・。..・。.・゜✭・.・✫・゜・。..・。.・゜✭

Song(s) of the Week! As I couldn't decide on 1 song for this week's entry, I've decided to include both of these songs that reflect how I feel about my high school friends.

This is a song that has been trending lately, revolving around a particular group of people or a place that holds significance in our lives. The singer refers to Chicago as his place of comfort where he exists as another version of himself. For me, my high school friends are my Chicago, as I feel the most comfortable with them and the time we spend together brings me back to our youth, where we are teenagers all over again living in simpler times.

This song has always been an impactful one for me as it reminisces about friendship and the memories made together. However, it hits different this time around, knowing that my friends and I will indeed be spending one last trip together in the summer before 2 of them travel overseas to continue their studies. As for now, I countdown the months we have left together, and think about how this song will be a tear-jerker when it starts playing during our road trip.

[s-sweetmarie]

I went to Hollywood only with the purpose of looking for Colin Firth's star, found it and it's very very hidden! Couldn't help but fangirl

[iamthenightcolormeblack]

Pride and Prejudice 1940: "When Pretty Girls T-E-A-S-E-D Men Into Marriage"

Made during the Great Depression, this classic black and white film is loosely based on Austen's novel and is set in what is likely the 1830s rather than the Regency Era (late 18th century to early 19th century). It is an escapist piece which capitalizes on nostalgia for a simpler time by transporting its viewers to a chocolate-box vision of the past, while paying homage to Austen's social satire by delivering plenty of laughs along the way.

Overall Thoughts on the Film:

The first time I watched this movie, I was confused because the plot as well as the setting was revised significantly (the events after Darcy's first proposal are changed to hasten the happy ending; Darcy's letter and Elizabeth's visit to Pemberley are not included in this movie). This changing of plot points makes the 2005 movie a much more faithful adaptation in comparison with this version, in spite of the creative liberties both take with the novel.

Production Design:

The movie is a typical example of Golden Age Hollywood productions, with beautiful actresses and melodramatic flourishes added to increase the drama. Some of the lines are delivered very quickly, in keeping with the comedic style of the time.

The music: definitely not historically accurate. A lot of sentimental, "ye olde timey" string arrangements that emphasize emotions or fast-paced waltz music for balls/parties.

The 1830s costumes are beautiful; it seems as if no expense (or quantity of fabric) was spared in making them. The bonnets are way taller and have more decorations than typical 1830s bonnets. Some of the patterns/fabric choices are very 1930s, and the costumes are exaggerated in such as way as to make the wearers look like fancy turkeys.

Hair and Makeup: very 1930s, with finger/sausage curls, plucked eyebrows, lipstick/lip makeup, and long lashes.

The sets: the dollhouse-like interiors are lavishly gilded and made to look as opulent as possible. Outdoors scenes are lush, with lots of flowers and bushes; the garden in which the second proposal takes place is gorgeous. The set design transports the viewer into an idyllic vision of the bucolic English countryside.

The Lead Actors:

With the exception of Laurence Olivier, the majority of the actors are American, since this is a Hollywood production. Many of the characters in the film's imaginary vision of pastoral Britain speak American or make clumsy attempts to imitate British English.

Greer Garson: while she is definitely too old for the part, she perfectly conveys Elizabeth's intelligence, outspokenness, and sarcasm. Her facial expressions are killer as well; with the arch of an eyebrow along with a snarky side eye, she captivates us all. All in all, Garson effectively shows off Elizabeth's impertinence through her nonverbal acting (this reminds me strongly of Jennifer Ehle's Elizabeth Bennet).

Laurence Olivier: he effectively conveys Darcy's pride while hinting at his deeper feelings beneath the surface (I can see why Colin Firth spoke so highly of Olivier's portrayal of Darcy). Most importantly, the film emphasizes Darcy's intelligence; he is certainly Elizabeth's intellectual equal. While this portrayal of Darcy is very accurate to the book, Darcy's pride does go away pretty quickly (he and Elizabeth form a tentative friendship early on) and his social awkwardness isn't immediately obvious thanks to his charm. Also the unflattering hairstyle with the greasy hair and painted on sideburns makes me sad.

Key Scenes:

Opening scene: The title card appeals directly to the audience's nostalgia for a sentimental, romanticized past: “It happened in OLD ENGLAND (this was actually capitalized), in the village of Meryton…” The Bennet women are at a fabric shop, where they gossip with aunt Phillips about the rich people moving into Netherfield Park.

The carriage race: this scene, which isn’t in the original novel, represents the rivalry between the Bennets and Lucases. The mothers both want their daughters to be the first to snag the rich bachelors.

The first ball: There is a historical anachronism as the music is a waltz by Strauss, who became popular in late 19th century, specifically the Gilded Age; far too early for the Regency Era or 1830s England. Other changes from the original novel include Elizabeth meeting Wickham before Darcy; other events from Aunt Phillips’ ball (which isn’t included in this movie) and Wickham and Darcy’s confrontation are included in this scene.

Elizabeth’s impression of Darcy at the ball: she puts on airs and mocks his casual dismissal of her as tolerable (definitely a parallel with the 1995 version, where Jennifer Ehle does the same, but privately with Jane).

Great comedic change: Darcy introduces himself to Elizabeth after calling her tolerable and asks if she will dance with him (this originally takes place at Mr. Lucas' ball). Right after rejecting Darcy, she instantly agrees to dance with Wickham; in a humorous moment, Darcy evacuates to a corner of the room to sulk while seeing Wickham dance with Elizabeth.

The “Accomplished woman” scene: the dialogue lifted directly from the book for the most part. Darcy, in a departure from his trademark seriousness, shows off his playful side when reacting to Caroline Bingley's "turn about the room." I particularly like this added repartee from Elizabeth Bennet to Darcy, which is clever but also foreshadows her prejudice: “If my departure is any punishment, you are quite right. My character reading is not too brilliant.”

Elizabeth can't stand Mr. Collins: After twirling about his monocle, he pronounces that: “It might interest you to know my taste was formed by lady Catherine de Bourgh.” The best part of this scene is when Elizabeth plucks a wrong note on her harp when Collins gets really annoying.

The Netherfield ball (which is now a garden party):

Elizabeth running away from Mr. Collins: She looks rather ridiculous, almost like an overdressed turkey, in a white dress with puffy sleeves as she runs away from an overeager Collins. Then she hides in the bushes while Darcy helps her to hide, telling Collins he doesn't know where she is. It's fun but most likely not something a proper lady and gentleman would do (two people of the opposite gender out alone, shock!).

The archery scene: Darcy attempts to teach Elizabeth how to shoot a bow and arrow, even though he doesn’t hit the bullseye. She goes on to impress him by perfectly hitting the bullseye every time; Darcy learns his lesson: "Next time I talk to a young lady about archery I won't be so patronizing." Caroline Bingley, very passive aggressive as usual, shows up for her archery lesson right after and it's absolutely perfect.

Mr. Collins attempts to introduce himself to Mr. Darcy: Laurence Olivier captures Darcy so perfectly in this scene (really set the precedent for Colin Firth). When Mr. Collins starts talking (inviting Elizabeth to dance with him) Darcy tries to keep himself well-composed but has a pained expression on his face as if he’s about to pass out. Olivier masters the way Darcy can look so miserable but also disgusted and proud at the same time.

Mr. Collin's proposal to Elizabeth: I like the added touch of Mrs. Bennet pulling Elizabeth back by her skirt when she tries to run out of the room. The dialogue is taken directly from the book, and the scene is made even funnier when Collins holds on to Elizabeth's hand desperately and doesn’t let her get away. My only quibble is that Elizabeth isn’t indignant enough when Mr. Collins doesn't take no for an answer.

Elizabeth and Darcy at Rosings: I like that Olivier subtly indicates that Darcy is clearly affected upon seeing Elizabeth at Rosing, hinting at deeper feelings beneath the surface. I also like how the scriptwriter emphasizes that Darcy indirectly praises Elizabeth and enjoys their conversations, while she remains convinced that he hates her. Sadly, the original dialogue of the piano scene is not included, which is unfortunate as it allows Darcy to reveal his introvert tendencies, calling into question Elizabeth's assertion that he is unpardonably proud.

First proposal: The famous opening lines are mutilated with awkward punctuation: “It’s no use. I’ve struggled in vain. I must tell you how much I admire and love you." While the rest of the dialogue matches up closely with what happens in Austen's novel, both of the actors aren’t emotional enough; instead Elizabeth cries very daintily, and Darcy remains serene, which conflicts with the book's description of both of them being very angry and defensive at each other.

THE SCRIPT:

The first half of the film up to Darcy's first proposal follows the events of the original book closely, though certain blocks of dialogue are moved elsewhere and other events such as Mrs. Phillips' party are skipped over. The most significant changes, besides updating the setting to the 1830s, are made to the second half of the book to squeeze the key events of the story into the movie before delivering the inevitable happy ending.

Brilliant Quotes:

Mr. Bennet's reaction to Mrs. Bennet's despair over the situation of their 5 unmarried daughters: “Perhaps we should have drowned some of them at birth.”

Darcy insists Elizabeth cannot tempt him: “Ugh. Provincial young lady with a lively wit. And there’s that mother of hers.”

Darcy is an arrogant snob: “I’m in no humor tonight to give consequence to the middle classes at play.” (Technically the Bennets are part of the gentry; they just are less wealthy than Darcy).

Elizabeth's reaction to Darcy pronouncing her to be tolerable at best: “What a charming man!”

Elizabeth rebuffs Darcy's offer to dance after overhearing his insult: “I am afraid that the honor of standing up with you is more than I can bear, Mr Darcy.”

Elizabeth favors Wickham after witnessing the bad blood between him and Darcy: “Without knowing anything about it I am on your side.”

Mrs. Bennet's comment after she sends Jane to Netherfield under stormy skies: “There isn’t anything like wet weather for engagements. Your dear father and I became engaged in a thunderstorm.”

Mr. Bennet's reaction to Jane's fever: “Jane must have all the credit for having caught the cold…we’re hoping Elizabeth will catch a cold and stay long enough to get engaged to Mr. Darcy. And if a good snowstorm could be arranged we’d send Kitty over!”

The sisters' description of Mr. Collins: “Oh heavens! what a pudding face.”

Caroline Bingley at the Netherfield garden party: “Entertaining the rustics is not as difficult as I feared. Any simple childish game seems to amuse them excessively.”

Darcy reassuring Elizabeth after helping her escape Mr. Collins: “If the dragon returns St. George will know how to deal with it.”

Darcy learns his lesson after Elizabeth beats him at archery: “The next time I talk to a young lady about archery I won’t be so patronizing.”

Elizabeth comments about a curtain: “Oh that’s pretty. It’s a pity you didn’t make it bigger. You could have put it around Mr. Collins when he becomes a bore.”

Elizabeth on Kitty and Lydia: “2 daughters out of 5, that represents 40% of the noise.”

Elizabeth sees Lady Catherine for the first time: “So that’s the great lady Catherine. Now I see where he learned his manners.”

Lady Catherine's attitude towards philanthropy: “You must learn to draw a firm line between the deserving poor and the undeserving poor.”

Darcy takes Elizabeth's advice: “I’ve thought a great deal about what you said at Netherfield, about laughing more...but it only makes me feel worse."

Elizabeth and Darcy have a conversation with Colonel Fitzwilliam: “He likes the landscape well enough, but the natives, the natives, what boors, what savages … Isn’t that what you think, Mr. Darcy?” With a smile: “It evidently amuses you to think so, Miss Bennet."

CHANGES FROM THE BOOK:

The first half of the film up to Darcy's first proposal follow the events of the original book closely, though certain blocks of dialogue are moved elsewhere and other events such as Mrs. Phillips' party are skipped over. The most significant changes, besides updating the setting to the 1830s, are made to the second half of the book to squeeze the key events of the story into the movie before delivering the inevitable happy ending.

With the exception of Lady Catherine de Bourgh, the portrayals of the characters are (generally) true to the book.

As I said earlier, the film neglects any sort of historical accuracy when setting the story in romanticized "Old England," where genteel people pass simple lives that revolve around dresses, tea parties, social gossip, and marriages. A lot of Austen adaptations present an idealized vision of Regency life, where people are dressed immaculately, flawlessly adhere to "chivalry," and find love in the ballroom. This contributes to the misconception that Austen's novels are shallow chick-lit books with flat characters who live for lavish parties and hot men, instead of stories of unique, complicated women who happen to be well-off but aspire towards love, respect, or independence instead of being content to make economically advantageous marriages. Austen's novels are character novels and she doesn't waste time writing about dresses or tea parties; balls, while exciting, are just another part of daily life for her characters rather than some Extremely Big Special Once In a Blue Moon Event.

Austen's multifaceted view on marriage turns into a game of matchmaking. She recognizes it as necessary for women to survive in the patriarchy, since they cannot provide for themselves unless they marry well, but at the same time, presents marriage as a means for freedom if it is a loving partnership between two people that respect each other. In contrast, marriage is a game of manipulating the partners into wanting to marry (ex. Lady Catherine and Darcy's trickery). Also, it seems to be a given that Elizabeth will marry for love, unlike in the book where it is uncertain whether she will achieve this.

Kitty and Lydia's antics are viewed much more sympathetically as those of young people having fun; in the book, their behavior harms the family's social reputation, reducing the chances the Bennet daughters have of making good marriages.

Louisa Hurst, Georgiana Darcy, and Aunt and Uncle Gardiner are not in the movie.

Wickham is introduced much earlier than in the book; he is friends with Lydia from the very beginning. Interestingly, he doesn't begin to trash-talk Darcy until Bingley leaves; in the book he does so much earlier, before the Netherfield ball.

Darcy is more considerate towards Elizabeth at the Netherfield party (ex. rescuing her from Collins), until he overhears Mrs. Bennet scheming to get the daughters married. Elizabeth forms a tentative friendship with him until finding out that he separated Jane from Bingley.

Jane is more obviously heartbroken over Bingley's departure than in the book, where she keeps her pain to herself. In the movie, she runs away to cry, which is uncharacteristic of her.

Collins is a librarian instead of a clergyman. I dislike this change because some Austen scholars/fans think that Collins being a clergyman is a deliberate choice as part of Austen's social criticism. Collins is representative of how hypocritical the Church is, since he worships Lady Catherine's wealth instead of God, and preaches moral lessons instead of actually using religion to help people. My theory is that the change was made because of the Hays Code, which led to the censorship of movies for "unwholesome" or "indecent" things; the religious criticism could have been offensive.

Elizabeth reacts rather too kindly to Charlotte marrying Collins by showing concern for the loveless marriage. While she does worry about the lack of love in the marriage, initially she is extremely surprised, outright shocked, and confused.

The scene where Darcy tries and fails to talk to Elizabeth (the "charming house" scene in the 2005 movie) just before the proposal is removed.

Darcy's letter is skipped over and Elizabeth overcomes her prejudice of Darcy very quickly, as shown when she tells Jane she regrets rejecting his proposal. This is contrary to the book, where overcoming her prejudice is an emotionally exhausting and slow process that continues all the way up until the second proposal.

The Pemberley visit is removed; instead, Elizabeth returns home to the news that Lydia has eloped. Visiting Pemberley is very important as part of Elizabeth's re-evaluation of Darcy's character and provides an opportunity for Darcy to show Elizabeth that he has changed for her. The visit is key in increasing Elizabeth's love for Darcy, and removing it means that the characters have less personal growth (also wouldn't it have been great for the audience to be treated to another gorgeous estate of "Old England?"). Instead, Darcy visits Longbourn on his own and offers his help in finding Lydia. When the news comes that Wickham accepts very little money in exchange for marrying Lydia, it isn't as shocking as it is in the book because Darcy had already expressed his intentions of helping Elizabeth earlier.

Here's the change that bugs me the most: Lady Catherine becomes good; though she is a busybody, her main priority is Darcy's happiness. Her confrontation of Elizabeth is a scheme hatched between her and Darcy as a test to be certain of Elizabeth's love. This does not make sense on so many levels: first, Darcy insists that "disguise of every sort is my abhorrence," so why would he resort to trickery, however well-intentioned, to find out if Elizabeth still loves him? Second, Lady Catherine is a social snob and objects to Elizabeth's low connections; also she has an arranged marriage planned for Darcy. Third, in the book, because Elizabeth likes Pemberley and gets along really well with his sister Georgiana, Darcy would have had some evidence that Elizabeth, in the very least, cared for him. And the added claim that Lady Catherine approves of Elizabeth because she likes rudeness and thinks Darcy needs a humorous wife irritates me further because the marriage of Elizabeth and Darcy is revolutionary since it was made in defiance of societal rules!!! Why, why, why in the name of comedy did they have to do this?!

Darcy kisses Elizabeth (in a stagey and melodramatic way) after she accepts his second proposal. Seems a bit uncharacteristic of him.

All the sisters get married at the end. Happily ever after.

CONCLUSION

This movie certainly was not aiming for faithfulness to Austen's novel; it ignores her detailed portrait of Regency era society and its attitudes and focuses on the "light, bright, and sparkling" aspect of Pride and Prejudice that gives the story its timeless appeal.

All in all, this comedy of manners is definitely a classic thanks to the clever dialogue and jokes within the script, along with some great acting.

@appleinducedsleep @dahlia-coccinea @princesssarisa @colonelfitzwilliams @austengivesmeserotonin

[mrdarcysdadbod]

We watched Pride and Prejudice: a New Musical last night and my bullet point review is as follows:

(tl;dr: it was fine but not much to write home about. Mr Darcy was EXTREMELY good.)

Jane and Bingley were a DELIGHT their duets were the best and it played a lot with the theme of them being shy and reserved (their songs are all delivered as separate asides and the whole dynamic was cute as hell)

They did Lizzie dirty with the whole weird #girlboss #feminist vibe they had going for her like... I Know That people have internalized this "Lizzie Bennet is a FEMINIST" message but that meant something VERY different for her than it does for us and the idea that she doesn't want to get married at all or that she ~rejects traditional femininity~ misunderstands the character completely

Unfortunately the actress playing Lizzie was one of the least impressive singers but she had VERY good comedic timing

Mr Collins was one of the best Mr Collinses I've seen bc he was weird and embarrassing and his song made me gag (in precisely the way Mr. Collins ought to)

Not a lot was going on visually and it felt kind of rushed, as far as covering the whole plot

But they did slow down in the right places and lifted almost entire scenes from the book, and in general they stuck to the story really faithfully while keeping it brisk and I was impressed with how much they did cover

They did a lot of weird shit with places and timing (ie they set the Meryton ball at Netherfield, implied Rosings was close enough to Longbourn for a day trip, a couple other things) but like... Who has time for Geography of England in a two hour musical

They handled Mr. Wickham really well in the brief time they had and his song was delightfully infuriating for anyone familiar with the story, but they managed to hit all the stops on that plotline effectively and efficiently, which some other adaptations haven't managed

Nobody really danced :/ like there was partner dancing at balls but. Mr Darcy deserved at least three dance breaks imo

Lady Catherine's actress was like. The platonic ideal of an actress to play Lady Catherine.

As far as the music itself I wasn't generally blown away, I don't have a lot of admiration for the lyricist unfortunately but otherwise it was fine. Not the worst musical I've seen and there are a couple tunes still stuck in my head

The best songs would have to be Jane and Bingley's duet ("More than Hello"), Darcy's song about his crush on Lizzie ("Bravado"), and the song about Lydia and Wickham eloping ("Disgrace")

Which, I really really enjoyed Disgrace as a song not only because it really brought the emotional impact of the elopement (and did a good job with the requisite "hey modern audience! Let's explain some Regency social mores real quick so you understand how fucked the Bennet sisters are") but it also included Mr. Collins' letter about "it would've been better if your sister died, also I've told everyone. ta!" Which I forget about regularly until I'm reminded and infuriated again

The comedic bits and pair dynamics were EXTREMELY funny and put to good use. Everyone played off each other well when they had a bit to do

But all of its faults are quite easily forgiven because I'm OBSESSED with Mr Darcy in this

They cast/played him younger which was refreshing to me bc whether it's the actual age of Colin Firth actors playing Darcy or just the seriousness they bring to the character, he always seems older than he should, but this Darcy actually felt, like, twenty seven and in love

The part was written for tenor, which, as a tenor, had me like :3

His songs were the most interesting musically and the most well done in terms of performance, like the actor really just blasted everyone else out of the water

My gf said he looked like Henry Cavill's younger cousin and I think he looks like Regency Billie Joe Armstrong

I really just can't overstate how much I loved Darcy.

Like if I had to change anything I'd have not given him his first song as a solo, or put that solo somewhere else, because it felt jarring to have a clear "this is Mr. Darcy's perspective and reasoning" so early in the story as the initial Meryton ball but like, it was a pretty good song and i liked his voice so I won't complain too much

I really enjoyed the way they did The Letter too, the part about Georgiana was actually one of the best musical moments imo

I just think he did a good job!

Bonus round:

My gf was looking up info on the musical and found a review written by possibly the only person in the English-speaking world who doesn't know the plot of Pride and Prejudice bc the review summarized it as "One of [the Bennet sisters], Elizabeth Bennet, falls for Mr. Darcy, while he yearns for another woman below his class."

Like you are..... Mad incorrect bro

[omegangrins]

[Kingsmen 3: The Golden Service] Harry Hart turns "villain"

TL;DR: The Lepidopterist is the *perfect* name for a "colorfull" megalomaniac who's trying to save the world via villainy.

I've allways had a nagging feeling that Colin Firth's Harry Hart is destined to become a villain. Like Valentine and Poppy, our Hart will break.

Why do I think this? Let's start simple:

1) "I always felt that the old Bond films were only as good as the villain. As a child, I rather fancied a future as a colorful megalomaniac."

Now you could take it as face value veiled metaphor in their cat and mouse game. A game recognize game moment. Though when you look at it from a character angle, it is rather apparent that Galahad is not lying here. Look at the giddy nature in which they both talk about the subject. Almost lost in a moment of childhood nostalgia. Neither man is lying. So if Valentine tried to save the world like his younger self wanted, then it stands to reason that Harry has that childhood dream himself.

Harry even has a flair for the dramatic already. "Manners maketh man" is all about him causing a dignified scene to teach a lesson to all watching. In the Freebird church scene, you can see it BEFORE he starts fighting because of Valentine's machine.

Feels like a simple "I'm going to the bathroom" or "I'm hot and need to breath outside for moment" would have sufficed and gotten him out of there without hassle from the crazy Baptist and he KNEW that but didn't care. Arthur implies this subversiveness in their conversations about choosing candidates. Then there's the *way* in which he kills everyone there. Not just defense or trying to kill quickly but lots of slow, painful, and fucked up deaths. The killing is Valentine but the style is ALL Harry. It's part of the reasons he's disgusted. Not the enjoyment, but the ease with which he turned so gleefully. That slow motion fade in smile in the middle is proof of this. Harry *wanted* to punish those people the same way Valentine did. That's proven by what he says at the start. (Don't blame him either, just character commenting. Fuck those people.) Part of me thinks the Freebird is playing in *HIS* head. He's a bird freed by blood.

2) The Lepidopterist

I know the clip is from Venture Bros but it's meant to show how two "good guys" became bad. Kinda the perfect coincidence. But I digress... it was a shameless plug to #SavetheVentureBros. 😎😙😍

The hobbyist collecting of insects, fauna/flora, and what-have-yous has looooong been a trope of "colorful megalomaniacs".

Then there's the added bonus that The Lepidopterist sounds like the *perfect* name for a Bond villain.

Butterflies even symbolize death and rebirth and the violence inherent in transforming something for the better.

Is Harry's butterflies a set-up foreshadowing to his coming transformation from "hero" to "villain"?

"I doubt whether I'd work for anyone who drowns their employees. I want to go home. I want my butterfly collection. I want to see Mother."

3) As we know, all the best villains are ones we sympathize with and understand WHY they do what they do. Valentine was trying to solve over-population and save what he could of the species so it wouldn't happen again. Poppy wanted drugs to be legal, partially for vanity reasons but mainly for anger at global government hypocrisies (the same governments which had their heads blown up for trying to kill humanity for their own gain). Wouldn't it fit perfectly for Harry Hart to have seen the horrors inflicted by the world governments and the corruption of not only Statesmen, but his beloved Kingsmen themselves, and say "No more." What's he gonna feel when he finds out Arthur sold the Kingsmen's soul and got him killed? How long has the "shoot the dog" exercise been in practice? Why is trying to drown someone thought of as a reasonable way to help them? Does the rot go to the core? All things any reasonable person would ask after being shot for an organization that was just blown up by a drug dealer.

"When I was shot, can you guess what the last thing was that flashed through my mind? It was absolutely nothing. I had no ties. No bittersweet memories. I was leaving nothing behind. Never experienced companionship, never been in love. And in that moment, all I felt was loneliness and regret."

Who's to say what he would do or the methods he would take, but villains are merely people casting shadows in the way of the light.

4) I put this last because it's more pun than the others and because I only realized it while writing their names out loud. Valentine. Poppy. Hart. A valentine is love, poppies symbolize death, and a heart combines both (a Hart is also the name for an adult male deer over the age of five but I'm not British enough to understand what the fuck that has to do with anything.) There's also Richmond Valentine/Rich Man Love (Rich dude saving the world). Poppy Adams/ Poppy of the Earth (Death of the World). And finally Harry Hart/Harry Heart. An attacking heart. Yeah, that's the old definition of "harry". To harass. (Or Power Ruler of the Five Year Old Male Deer. This isn't an exact science 🙃 ). Honestly, as I write these out, the puns become the hardest piece of proof for me. Brits love a good wordplay foreshadowing.

"... this is not the end. It is not even the beginning of the end. But it is, perhaps, the end of the beginning."

AND what else do they have in common? They're all things associated with the color red. And what's red?

BLOOD.

Sorry, couldn't resist the touch of drama. 🤣

P.S. I know it's not really related but I also subscribe to the Poppy is a former Statesmen theory as well.

Making this an even more thematic connection. Good guys gone villain because of shitty situations.

Edits

5) HE'S WEARING AN EYEPATCH!!! How autistic am I that I missed that in my explanation. Eyepatches just seem that normal to me but they're like the ultimate villain accessory. Unless you're a pirate.

6) /u/Bespoke3 pointed out how the one thing keeping this from happening is Eggsy and Harry's relationship, and I contended that it was true. While making an interesting movie, you need a sufficient reason for those two to be on opposite ends of each other. And in rambling through comments, I found it. This is why you write shit outloud:

It's Princess Tilde!

The first movie showed that world leaders would gladly sell their souls to save themselves, Princess Tilde being one of the few exceptions. The second showed that even after those figureheads exploded (see what I did there 🤣), there was still terrible people left in charge making even worse decisions.

What if Harry's plan is to attack all of the "leaders" of the world as a way to show people they have the power to govern themselves. This would put Princess Tilde, and moreso her family, directly in the line of fire and force Eggsy's hand to intervene and choose.

Save the girl or save the world.

7) As /u/baddestmofointhe209 pointed out, Harry *was* shot in the head. That kind of thing does tend to mess with people after the fact. Maybe turning villain isn't such a stretch. Not evil, but morally grey.

7) As /u/baddestmofointhe209 pointed out, Harry *was* shot in the head. That kind of thing does tend to mess with people after the fact. Maybe turning villain isn't such a stretch. Not evil, but morally grey.

8) My wife was telling me about how Colin Firth has allways wanted to play the villain too.

"Whenever you take on playing a villain, he has to cease to be a villain to you. If you judge this man by his time, he's doing very little wrong."

“I’d never rule out a part in Doctor Who or Torchwood – especially Doctor Who, I’d also love to play a villain like Moriarty in Sherlock Holmes."

9) Thanks to some pushback from /u/The-Reddit-Giraffe, I decided to Google Kingsmen 3 rumors and stumbled on this little nugget about it, and specifically the Harry/Eggsy relationship:

"I'm really not allowed to say anything, but there is a script. It's a really neat idea."

Outside of it telling the finale of Eggsy and Harry Hart's story, we don't know all that much about the plot for the third movie.

"People will either freak out in a good way, or freak out in a bad way, but they will freak out," Vaughn teased. "We're literally finishing the script off as I speak – but they go on a journey that, if anyone sees it coming, then I'll give up."

To which I would like to thank YOU. This is why I love being shown how I could be wrong. I can't help but feel like this is EXACTLY what they're talking about. You don't have a script finished that fast if you didn't already know where you were going with the first two.

It HAS to end like this. Now I can't see any other way. Maybe The Rock is the Big Bad they have to team up to stop at the end but I will say with 99% confidence that Harry Hart will turn rogue for the first 2/3 of the movie.

10) This wouldn't be the first time I was right about something like this either.

[checkoutmybookshelf]

Exploring Adaptation and Bridgerton

There comes a point where a girl can't deny she has engaged in a fandom. It probably is well before you start writing fic (you can find The Polin Fic on Ao3), but y'know, here we are. Let's talk Bridgerton.

Ok, couple things right off the top.

We are not dealing with either The Duke and I or S1 of Bridgerton on Netflix. We are not dealing with *THAT* scene and it's complete disregard for consent. Find that somewhere else on the internet, it's a big place.

We are literally only talking about The Viscount Who Loved Me and Romancing Mr. Bridgerton. They're the only books I've read, and at this point they're the only books in this series I care to read. That means we'll also chat about S2 of Netflix's Bridgerton.

Ok, with the ground rules established, let's jump on in!

I think the reasonable place to start here is with Kate. I watched Bridgerton the Netflix series before reading The Viscount Who Loved Me, and Kates Sheffield and Sharma are objectively not the same woman. They wouldn't even LIKE each other. Kate Sharma is self-assured, confident, driven, and quite frankly, a force of nature when she wants to be. Kate Sharma understands that not only is she a grown ass woman but also that if she does not get in gear and go for her goals, they ain't happening. You guys, I freaking love Kate Sharma.

By contrast, Kate Sheffield is a blond, blue-eyed, infantilized debutante with some serious unresolved PTSD. I was not at all sorry to see that Shondaland did away with THAT library scene and THAT bee sting scene. I think that the show did both of them way better, and I will never be mad when an adaptation takes an adult female character and lets her ACT like an adult. I also appreciated the shift from creepy Anthony trying to *checks notes* suck the venom out of the bee sting to a full-blown panic attack. It subverted a highly gendered trope and put both Kate and Anthony on a much more even and human footing. It was also--and I cannot stress this enough--so much LESS CREEPY than the book scene. Anthony describing what he was doing in detail while the reader is told but not shown that he's panicky left several different flavors of bad taste in my mouth. Kate Sharma showing actual dimensionality in her strength in the show in this scene as Anthony goes fully nonverbal is objectively a stronger scene that does far more to develop the characters.

Generally speaking, Anthony Bridgerton is Anthony Bridgerton in both the show and the book, with maybe some of the high-and-mighty, self-righteous edges sanded off for the show. He's a regency era Viscount, there's not a whole lot you can do with him in adaptation. Show Anthony is my preference because he has some of the high-handedness sanded off, and because Jonathan Bailey is extremely nice to look at. I don't even hate the S1 (*gasp* she mentioned Bruno!) sideburns and hair, they had a very 1995 Colin Firth as Mr. Darcy vibe that I was willing to lean into. I honestly don't have a whole lot else to say about Anthony, so let's move on and hope that maybe we get an S3 release date before I get to the end of this post.

I actually thoroughly enjoyed the fluffy confection that is Romancing Mr. Bridgerton, which makes it much harder to talk about than The Viscount Who Loved Me. I suppose the biggest difference between the book and what the show is setting up for Polin is in the stakes. The book stakes are arguably extremely low; the consequences for being Lady Whistledown in the book are essentially a round of polite applause and some deep-seated rage that Cressida freaking Cowper would dare to take credit for Penelope's work. And frankly, I was 100% with Penelope on that one. The show cannot possibly roll with that ending (or if they do, they're going to disappoint everyone) because Penelope has pissed off a reigning monarch, and that has, historically, gone poorly. So I think the show is setting up to give Colin real, concrete reasons to be pissed as hell when it comes out that Penelope is Whistledown, and to actually make the pair work for their romance. And for all I enjoyed the fluff in the book, I am a sucker for multiple layers of increasingly high stakes and I hope the show really goes ham on the payoff for this setup. Frankly, I want Colin to be absolutely furious with Penelope and still ready to sneak her out of England if the Queen decides that Lady Whistledown is too dangerous to leave at liberty.

In terms of how Colin himself changes in the show, I'm fairly cool with the "I am a bottomless pit where is the food" aspect of Colin's character being quietly left behind. I think we can do more interesting things with our male characters than that. However, like many of the people who have both read the book and kept up with the show, I am WORRIED about how much Colin's writing has been downplayed. Yes, he and Penelope have a correspondence, and clearly they mean a lot to each other, but writing letters does not necissarily set up Colin's journals and the writing relationship that the two develop in the book. It's so, so wildly uncommon for game to recognize game and form a partnership of equals in skill in regency romance novels, and that was one of the things I loved about Romancing Mr. Bridgerton. I also loved that Colin, not Penelope, was the less experienced newbie of the writing partnership.

Not that the book didn't complicate this issue, because Julia Quinn didn't hesitate for a millisecond to slot Penelope into the historical role of "uncredited, unpaid, and historically unknown editor and 80% of the reason that history remembers the husband who's name is on the cover of the book." And that SUCKS for Penelope.

That takes me really smoothly into the thing that I love most about what Nicola Coughlan brings to Penelope in the show. She has an edge, a little more willingness to take risks, and that really makes me believe that the Penelope of the show could be behind the edgier, sharper, WAY riskier Whistledown. I am excited to see what they do with Polin in S3!

[s-sweetmarie]

Me: *talking about Colin Firth* my baby

Friend: he's an 57 year old grown ass man

Me: *clears throat* mY BABY

[s-sweetmarie]

It's gotten to the point where I don't know if something is real bc it is stated in the movie or if I read it on a fic

kingsman is devouring my brains

[s-sweetmarie]

This scene is so funny

[s-sweetmarie]

Colin, Colin, Colin. Part 1. Another Country (1984).

[s-sweetmarie]

Colin Firth, super spy

[s-sweetmarie]

i found the most perfect photo to ever exist in my camera roll, i just made it my background picture everywhere. i can't stop looking at it. too much. perfection.