#'that's who she is- she's the person who's suffered and doesn't want others to suffer'

[bethanydelleman]

So of course whenever I write "Mr. Bennet is a terrible father" people come back at me with, "I can tell you about terrible fathers! How dare you use that word!" but I'm probably going to keep using it and here is why:

Her father was a clergyman, without being neglected, or poor, and a very respectable man, though his name was Richard—and he had never been handsome. He had a considerable independence besides two good livings—and he was not in the least addicted to locking up his daughters. - Northanger Abbey, Ch 1

Jane Austen knew that very extremely horrible parents existed, but that was not what she was interested in as a writer. To me, she seems to want to expose how parents can fail their children without anything that would be considered explicit physical abuse. Even General Tilney and Mrs. Norris only talk and scream, we have no evidence at all that they would hit.

And yet, the characters suffer a lot because of their parents. Emma's father has imprisoned her, but by loving her too much. Mr. Bennet doesn't harm his daughters in the present, but he's setting them up for a very precarious future*. Sir Walter would never let Anne go unfed or unclothed, but he still neglects her. Mrs. Dashwood is so emotionally fragile that Elinor feels that she cannot confide in her when she is suffering herself. Sir Thomas was so strict that his children hated their home.

Jane Austen didn't write Gothic horror or the worst side of humanity. She wrote very relatable and realistically flawed parents who still put their children through a lot of suffering.

*Going to add, letting Lydia go to Brighton explicitly to expose herself, which may reflect poorly on the other sisters in a world where reputation is everything, is another failure to consider his children's future. Even if you disregard the danger to Lydia herself, he was endangering all his children. He is very much a person who trades the future for a peaceful present.

[raayllum]

Callum is so right about Rayla never doing anything for herself. You could say freeing Runaan was for herself but she also treats it as her "sacred promise" and chose him for Ethari too (shows how great her heart is). You think sparing Callum will finally count as her doing something for herself? Choosing her future and her love for him over the "greater good". She couldn't get her og parents back‚ this girl keeps losing and suffering she seriously deserves more wins

God, I could write an entire meta about that line - maybe one day when I'm feeling self indulgent. In regards to your actual prompt, re: saving Callum will count as something for herself -- a big yes, absolutely, I think! Though I think freeing her parents is something she deeply wanted for herself, too ("I miss you so much" / "so I wanted to do something for yourself for you") even if it was something she was continually putting off till the Aaravos situation, as far as she knew, was resolved

Prior to S6 I went back and forth on whether the show would frame Rayla's end of the possession plot line / trying to get Callum back as either "It doesn't matter what happens to me (again) I just want to save him" (which is what leaving in TTM and other moments was about) OR whether it'd be framed as "I refuse to sacrifice him / something I want (again)" and therefore be character development. I leaned towards the latter for reasons outlined here since the two have the chance to be even more thematically codependent than they already are in terms of their senses of identity:

As long as Callum is Callum (not possessed, or she has reason to believe he’s still in there), Rayla likely won’t be able to bring herself to kill him. This is from an emotional / characterization standpoint, of course, but from a thematic standpoint, we can see where it stems from Callum and Rayla continually being each other’s main connection to their sense of identity. As long as Callum is Callum (“you’re the destiny is a book you write yourself guy”), he’s worth saving. As long as Callum is Callum, she can be Rayla (“Rayla’s brave. She saves people” / “Rayla. My name is Rayla, and I’m going home”). As long as she’s Rayla, he can be Callum. Because if Callum isn’t Callum, then he’s dead, and if he’s dead, she can kill him. And if Rayla kills him, if Callum is dead, then she won’t be Rayla anymore. Because to literally kill Callum would be to simultaneously symbolically/emotionally kill herself.

This goes both ways of course - Callum can't/won't sacrifice Rayla because to do so would be to sacrifice a fundamental part of himself (namely his deep and Pure devotion to others which means he'll never go entirely down the negative side of Viren's path, and keep to the positive - leaving Aaravos, breaking free, etc). This was subtext prior to S6, but now it's actual text (she's his light/truth/hope of salvation, etc) so it goes double going forward. This is true for Rayla too — Callum is her guiding light and her star, he's one of the people who's taught her the most about how to love and the person she wants to be.

With all that in mind, yeah, I do think that Rayla will choose to not sacrifice Callum for the right reasons. Part of this is scaffolded under witnessing Callum not sacrificing her No Matter What prior to her won choice, and realizing "what [she] most deeply desires" isn't just Callum's survival even, but specifically the life they can have together, which she needs to stick around for and thereby not sacrifice herself. Runaan is also explicitly remorseful over the actions he took towards her where he choose duty over love, so Rayla realizing she should choose love over duty ties into them growing together as well in a positive way. We also see her realize some of this I think in choosing to let Lain and Tiadrin stay together rather than separate them specifically because of the Moonphoenix bracelet Callum gave her as well.

"I risked losing the best thing I ever had" because of her own duty turned revenge vs "I refuse to lose either of us like this" and finally fully accepting an assassin was never who she was and never who she Should be, in sacrificing others' lives or her own included. Them both Choosing each other above everything else was exactly what I was hoping for as soon as the "I need you to kill me" plot line started / wrote in my first CHET fic pre-S4 years ago:

She has two options as she pulls away. She can make a grab for her swords and go out, swords blazing. Kill Viren or Aaravos if she can as the sky splits open, purple and thrumming with magic; die with a sword in her hand in all likelihood. The release spell has already started. Or she can help Callum up, and they can live to fight another day—together. Rayla grips the back of his jacket. Presses her forehead to his neck for a second, tears building her eyes. “I’m sorry,” she says. His arm tightens around her, like he’s braced for her to go. “Rayla—” “I’m so sorry,” she repeats, sobbing. This is all her fault, but she can’t do that to him. “We have to get out of here.” [...]

Callum is staring at her when she pulls back and she swallows hard. She doesn’t know what to say. It’s both a blessing and a curse when he speaks first. “You chose me,” he says, not quite softly; she can tell there’s a lump in his throat. An edge of anger that not doing so was even an option. “Yeah, well. It was about time,” she says quietly. “I—”

So uh, here's hoping!

[susandsnell]

my hot take on Lizzie: the Musical is that the love story becomes infinitely more compelling the more actors/the production lean into Alice's flaws and selfishness rather than presenting her as some fragile little flower who's the voice of reason (tag novel below)

[backpackingspace]

Okay but yin yu needs a raise this yin yu is overworked that. Where is the Ling wen needs a raise content

[shidoukanae]

Hello to the Buddyfight fandom it's been a hot minute but god do i miss this show and have been making fanart for it in the background so i thought i'd post to tumblr too ^^

I swear every year I end up coming back to this show and wishing that it kept going, that it got rebooted, that i could just erase my memories of this show and just watch it all over again from the beginning to enjoy everything once again from Tasuku's own sense of justice twisting against him to Gao's suffering of PTSD and how heartfelt it was handled.

There's something very special about this show that I haven't been able to find replicated elsewhere. It has the most perfect world to exist (so much so that i'd love to be isekai'd into it if i could!!!) and while i have my own gripes with it (hi S3+) i honestly sometimes wish i could go back to my high school years of watching this show just to relive it all again :'D

Anyways!!! I hope there's still people out there who enjoy this show even ten years later who'll like seeing new funny artwork for it!

I wanna add too that i'm hoping to create a rewrite of FCBF (ft. seasons 1-3 + Ace) or at least create more artwork for my interpretation of it and its world!

Because, sincerely, this show is one of the few that, for all its flaws, hasn't disappointed me in the years that've followed unlike many other things i've seen and i wanna try to keep the spirit of it alive while I can thanks to that. And if there are any fans still in existence who love it, i wanna provide some food while its once again in my orbit because damn do i adore this show <3 <3 <#

[shadowkira]

Me: has a cancer scare and admits this to coworkers in case I need to leave the front desk (I'm a receptionist) to take or make phone calls.

A month later, during a meeting with my supervisor: So, this is coming from a place of concern... your coworkers are concerned how your personal life is impacting work.

Me: ???

My supervisor: Well, apparently you came into work and immediately made a phone call?

Me: There was absolutely no one in the lobby, no one in exam rooms. Nothing happening. I had to call to schedule two appointments after being in the HOSPITAL on black Friday because I potentially have cancer... I couldn't call after I got discharged from the hospital because it was after 5pm on a Friday and holiday???

My supervisor: You couldn't call from home?

Me: I sleep up until I come in for work and believe it or not, am not sleeping due to stress. I went into an exam room, told the coworker where I would be if she needed me. And this is the SISTER of the woman I had to come to you about harassment complaints. But it's "coming from a place of concern."

Ended up having to have a discussion with my supervisor AND practice manager about this incident and the individual who just blatantly wasn't doing her job. The supervisor likes to shit talk with her about other employees. :)

Months later, my supervisor during another meeting... After I told her that we're all burnt out and mentioned how burnt out I feel inside and outside of the practice.

"And do you think that's impacting your work?"

Me: No???

Recently, my supervisor when multiple people voice concerns that an employee hasn't finished training by the end of August when she was meant to be fully trained by the last week of May: "Well, you don't know about her life outside of work-"

😐

[scorchedhearth]

a lot of things could be fixed by making casca a butch. the rest of the issues could be fixed by making her a protagonist before a girl

[bylertruther]

me when season five airs and The Big Reveals are mike's sexuality and will's love for mike bc mike has always known he's loved will but he hasn't always been comfortable with his sexuality and will has always known what he is but he didn't always know that what he felt for mike was that kind of love until it was already too late and thus the source of his pain has been jealousy + unrequited love

[goldiipond]

at some point when i can gather my thoughts i would like to make an in-depth post (would probably end up being more of an essay honestly) about how tpn treats its characters of color because like. there's definitely a colorism problem with anime/manga in general and i think tpn has some really solid black and brown characters for a medium that is severely lacking in that department but there's also some things it handles poorly and it would be good to explore that i think

[absensia-archived]

let me indulge my decade long obsession with myer-briggs for a second, and put on the record that charlotte has a real problem with those whose dominant or secondary cognitive function is extraverted intuition -- and it has to do with her dynamic with the primordial void as its vessel. while charlotte has and continues to do her best to comprehend the incredibly intangible, horridly abstract, and staunchly impractical nature of something that is ( and always will be ) outside the realm of complete human comprehension, she also made the decision long ago to not worry herself too much over these kinds of abstract, bigger-than-life, and unsolvable philosophical concepts. she does not enjoy spending her time and energy debating ( at length ) topics like the time - space continuum, the meaning of life and the universe, the essence of what a soul is, the significance of dreams, etc. this is, in part, why she isn't the biggest fan of poetry, and has a hard time getting along with people who are often lost in daydreams, who often speak in poetics or with a romantic edge, and who are seemingly so preoccupied with these intangible, dreamy, future - inclined ideas that they miss what is happening right in front of them. she finds these sort of people impractical and foolish; she doesn't hold much appreciation for their starry - eyed gazes, and while she does understand that abstract thinking is indicative of intelligence in its own way, she doesn't care enough for non - applicable theory to indulge this kind of thinking.

char's main qualm with the abstract and tethering of one's entire worldview and way of thinking to intangible possibilities and "what if's" is how it directly clashes with her desire to cling to the practical and tangible wherever, whenever, and however she can get it. she needs to ground herself this way because otherwise, she would be lost to the endless quagmire of fragmentary memories, skewed perceptions, half - truths, and the flux between unreality and reality, the tangible and the uncanny, etc. so, no, it doesn't help the work char literally depends on to make sure she doesn't lose her mind is unsettled by people insist on debating abstract theories w/o tying it back to a practical sense of reality. what i'm not saying is that char is unstable to the point where merely being around these people or speaking about these kind of topics would make her lose her mind; she hasn't made it this far without having worked on her mental fortitude. which is why, when it comes these people like this, char can be anywhere from kind of annoyed to "I absolutely cannot stand this person," where the latter would see her in constant conflict with this person, which by definition, means that charlotte does hold her own in her part of the clashing. of course, even if this is really the way she feels about one of these types of people, it also doesn't mean that she's going to show it, not especially if she's trying to get something from or out of said person.

[a-bottomless-curse]

*sad musings in the tags that i should actually make meta posts on*

[archaeren]

How I learned to write smarter, not harder

(aka, how to write when you're hella ADHD lol)

A reader commented on my current long fic asking how I write so well. I replied with an essay of my honestly pretty non-standard writing advice (that they probably didn't actually want lol) Now I'm gonna share it with you guys and hopefully there's a few of you out there who will benefit from my past mistakes and find some useful advice in here. XD Since I started doing this stuff, which are all pretty easy changes to absorb into your process if you want to try them, I now almost never get writer's block.

The text of the original reply is indented, and I've added some additional commentary to expand upon and clarify some of the concepts.

As for writing well, I usually attribute it to the fact that I spent roughly four years in my late teens/early 20s writing text roleplay with a friend for hours every single day. Aside from the constant practice that provided, having a live audience immediately reacting to everything I wrote made me think a lot about how to make as many sentences as possible have maximum impact so that I could get that kind of fun reaction. (Which is another reason why comments like yours are so valuable to fanfic writers! <3) The other factors that have improved my writing are thus: 1. Writing nonlinearly. I used to write a whole story in order, from the first sentence onward. If there was a part I was excited to write, I slogged through everything to get there, thinking that it would be my reward once I finished everything that led up to that. It never worked. XD It was miserable. By the time I got to the part I wanted to write, I had beaten the scene to death in my head imagining all the ways I could write it, and it a) no longer interested me and b) could not live up to my expectations because I couldn't remember all my ideas I'd had for writing it. The scene came out mediocre and so did everything leading up to it. Since then, I learned through working on VN writing (I co-own a game studio and we have some visual novels that I write for) that I don't have to write linearly. If I'm inspired to write a scene, I just write it immediately. It usually comes out pretty good even in a first draft! But then I also have it for if I get more ideas for that scene later, and I can just edit them in. The scenes come out MUCH stronger because of this. And you know what else I discovered? Those scenes I slogged through before weren't scenes I had no inspiration for, I just didn't have any inspiration for them in that moment! I can't tell you how many times there was a scene I had no interest in writing, and then a week later I'd get struck by the perfect inspiration for it! Those are scenes I would have done a very mediocre job on, and now they can be some of the most powerful scenes because I gave them time to marinate. Inspiration isn't always linear, so writing doesn't have to be either!

Some people are the type that joyfully write linearly. I have a friend like this--she picks up the characters and just continues playing out the next scene. Her story progresses through the entire day-by-day lives of the characters; it never timeskips more than a few hours. She started writing and posting just eight months ago, she's about an eighth of the way through her planned fic timeline, and the content she has so far posted to AO3 for it is already 450,000 words long. But most of us are normal humans. We're not, for the most part, wired to create linearly. We consume linearly, we experience linearly, so we assume we must also create linearly. But actually, a lot of us really suffer from trying to force ourselves to create this way, and we might not even realize it. If you're the kind of person who thinks you need to carrot-on-a-stick yourself into writing by saving the fun part for when you finally write everything that happens before it: Stop. You're probably not a linear writer. You're making yourself suffer for no reason and your writing is probably suffering for it. At least give nonlinear writing a try before you assume you can't write if you're not baiting or forcing yourself into it!! Remember: Writing is fun. You do this because it's fun, because it's your hobby. If you're miserable 80% of the time you're doing it, you're probably doing it wrong!

2. Rereading my own work. I used to hate reading my own work. I wouldn't even edit it usually. I would write it and slap it online and try not to look at it again. XD Writing nonlinearly forced me to start rereading because I needed to make sure scenes connected together naturally and it also made it easier to get into the headspace of the story to keep writing and fill in the blanks and get new inspiration. Doing this built the editing process into my writing process--I would read a scene to get back in the headspace, dislike what I had written, and just clean it up on the fly. I still never ever sit down to 'edit' my work. I just reread it to prep for writing and it ends up editing itself. Many many scenes in this fic I have read probably a dozen times or more! (And now, I can actually reread my own work for enjoyment!) Another thing I found from doing this that it became easy to see patterns and themes in my work and strengthen them. Foreshadowing became easy. Setting up for jokes or plot points became easy. I didn't have to plan out my story in advance or write an outline, because the scenes themselves because a sort of living outline on their own. (Yes, despite all the foreshadowing and recurring thematic elements and secret hidden meanings sprinkled throughout this story, it actually never had an outline or a plan for any of that. It's all a natural byproduct of writing nonlinearly and rereading.)

Unpopular writing opinion time: You don't need to make a detailed outline.

Some people thrive on having an outline and planning out every detail before they sit down to write. But I know for a lot of us, we don't know how to write an outline or how to use it once we've written it. The idea of making one is daunting, and the advice that it's the only way to write or beat writer's block is demoralizing. So let me explain how I approach "outlining" which isn't really outlining at all.

I write in a Notion table, where every scene is a separate table entry and the scene is written in the page inside that entry. I do this because it makes writing nonlinearly VASTLY more intuitive and straightforward than writing in a single document. (If you're familiar with Notion, this probably makes perfect sense to you. If you're not, imagine something a little like a more contained Google Sheets, but every row has a title cell that opens into a unique Google Doc when you click on it. And it's not as slow and clunky as the Google suite lol) (Edit from the future: I answered an ask with more explanation on how I use Notion for non-linear writing here.) When I sit down to begin a new fic idea, I make a quick entry in the table for every scene I already know I'll want or need, with the entries titled with a couple words or a sentence that describes what will be in that scene so I'll remember it later. Basically, it's the most absolute bare-bones skeleton of what I vaguely know will probably happen in the story.

Then I start writing, wherever I want in the list. As I write, ideas for new scenes and new connections and themes will emerge over time, and I'll just slot them in between the original entries wherever they naturally fit, rearranging as necessary, so that I won't forget about them later when I'm ready to write them. As an example, my current long fic started with a list of roughly 35 scenes that I knew I wanted or needed, for a fic that will probably be around 100k words (which I didn't know at the time haha). As of this writing, it has expanded to 129 scenes. And since I write them directly in the page entries for the table, the fic is actually its own outline, without any additional effort on my part. As I said in the comment reply--a living outline!

This also made it easier to let go of the notion that I had to write something exactly right the first time. (People always say you should do this, but how many of us do? It's harder than it sounds! I didn't want to commit to editing later! I didn't want to reread my work! XD) I know I'm going to edit it naturally anyway, so I can feel okay giving myself permission to just write it approximately right and I can fix it later. And what I found from that was that sometimes what I believed was kind of meh when I wrote it was actually totally fine when I read it later! Sometimes the internal critic is actually wrong. 3. Marinating in the headspace of the story. For the first two months I worked on [fic], I did not consume any media other than [fandom the fic is in]. I didn't watch, read, or play anything else. Not even mobile games. (And there wasn't really much fan content for [fandom] to consume either. Still isn't, really. XD) This basically forced me to treat writing my story as my only source of entertainment, and kept me from getting distracted or inspired to write other ideas and abandon this one.

As an aside, I don't think this is a necessary step for writing, but if you really want to be productive in a short burst, I do highly recommend going on a media consumption hiatus. Not forever, obviously! Consuming media is a valuable tool for new inspiration, and reading other's work (both good and bad, as long as you think critically to identify the differences!) is an invaluable resource for improving your writing.

When I write, I usually lay down, close my eyes, and play the scene I'm interested in writing in my head. I even take a ten-minute nap now and then during this process. (I find being in a state of partial drowsiness, but not outright sleepiness, makes writing easier and better. Sleep helps the brain process and make connections!) Then I roll over to the laptop next to me and type up whatever I felt like worked for the scene. This may mean I write half a sentence at a time between intervals of closed-eye-time XD

People always say if you're stuck, you need to outline.

What they actually mean by that (whether they realize it or not) is that if you're stuck, you need to brainstorm. You need to marinate. You don't need to plan what you're doing, you just need to give yourself time to think about it!

What's another framing for brainstorming for your fic? Fantasizing about it! Planning is work, but fantasizing isn't.

You're already fantasizing about it, right? That's why you're writing it. Just direct that effort toward the scenes you're trying to write next! Close your eyes, lay back, and fantasize what the characters do and how they react.

And then quickly note down your inspirations so you don't forget, haha.

And if a scene is so boring to you that even fantasizing about it sucks--it's probably a bad scene.

If it's boring to write, it's going to be boring to read. Ask yourself why you wanted that scene. Is it even necessary? Can you cut it? Can you replace it with a different scene that serves the same purpose but approaches the problem from a different angle? If you can't remove the troublesome scene, what can you change about it that would make it interesting or exciting for you to write?

And I can't write sitting up to save my damn life. It's like my brain just stops working if I have to sit in a chair and stare at a computer screen. I need to be able to lie down, even if I don't use it! Talking walks and swinging in a hammock are also fantastic places to get scene ideas worked out, because the rhythmic motion also helps our brain process. It's just a little harder to work on a laptop in those scenarios. XD

In conclusion: Writing nonlinearly is an amazing tool for kicking writer's block to the curb. There's almost always some scene you'll want to write. If there isn't, you need to re-read or marinate.

Or you need to use the bathroom, eat something, or sleep. XD Seriously, if you're that stuck, assess your current physical condition. You might just be unable to focus because you're uncomfortable and you haven't realized it yet.

Anyway! I hope that was helpful, or at least interesting! XD Sorry again for the text wall. (I think this is the longest comment reply I've ever written!)

And same to you guys on tumblr--I hope this was helpful or at least interesting. XD Reblogs appreciated if so! (Maybe it'll help someone else!)

[star-ocean-peahen]

After watching Cinderella (the original animated movie, which was my favorite as a child), it strikes me how it solves many common problems people have with this fairy tale. Like:

Why did they try to identify the mystery girl using her shoe size? Because the bullheaded king's only clue to her identity was the shoe the Grand Duke picked up off the steps.

Why didn't the prince recognize her by her face? Because his father wouldn't involve him in the process at all, and wasn't the one going around trying to find her.

Why did the prince want to marry a lady he only met that night? Because his father was going to force him to marry someone, and he genuinely liked this woman.

Why did Cinderella want to marry a man she only met that night? Because marriage was her best and most secure way to freedom. Fucked up, but you can't say it's unrealistic for the setting of a fairy tale. She also genuinely liked him.

If they're using the slipper to find her, wouldn't it be more sensible to search for the person with the other slipper? Yes. The King is purposefully nonsensical and the Duke is purposefully terrified enough of him to carry out his orders to the letter. Furthermore, they end up doing that in the end anyway, because the Duke's glass slipper is shattered, and Cinderella brings out the one she has to prove her identity.

Why didn't the stepmother and stepsisters recognize Cinderella at the ball? Because they were dancing too far away, and then left the party to dance in private, which was possible because the King wanted very badly for his son to hit it off with someone and tried to arrange the best conditions for that to happen.

Why didn't Cinderella save herself? Because in real life, abuse victims should not have to shoulder that responsibility, and usually can't. In real life, you need and deserve an external support system. Asking for help, in this kind of situation, is very important. She is saved by others because she is loved. Because she is not alone. Because she has friends who love her, and want her to be happy and safe and free. Because in real life, people who want to help someone who is suffering are like the mice. We can't pull out miracle solutions, but we can provide companionship and if we're in the right place at the right time, we can help the person find a better life.

Why didn't the fairy godmother save Cinderella from her abusive household, or try to help her sooner? Because she's magic, and magic can't solve your problems. Quote: "Like all dreams, well, I'm afraid it can't last forever." This (and Cinderella's dream of going to the ball) is a metaphor for pleasurable things in bad circumstances. An ice cream won't get rid of your depression, but it will provide you with momentary happiness to bolster you, as well as the reminder that happiness in general is still possible for you. Cinderella doesn't want to go to the ball so she can get away from her stepmother and stepsisters, or so she can meet someone to marry and leave with. She wants to go to the ball to remind herself that she can still have things she wants. That her desires matter. This is important because the movie does a very good job of illustrating Lady Tremaine's subtle abuse tactics, all of which invisibly press the message that Cinderella doesn't matter. While going to the ball and fulfilling her dreams may not be a victory in the material sense, it is still a victory against Lady Tremaine's efforts.

Why is Cinderella's choice to be kind and obedient framed as a good thing, when you are not obligated to be kind to your abuser? This one walks a very fine line, but I think the movie still makes it make sense. Lady Tremaine never acknowledges her cruelty. She always frames her punishments of Cinderella as Cinderella's fault. Cinderella is interrupting, Cinderella is shirking her duties, Cinderella is playing vicious practical jokes. Cinderella is still a member of the family, of course she can go to the ball, provided she meet these impossible conditions. Lady Tremaine's tactics are designed to make Cinderella feel like she must always be in the wrong and her stepmother must always be in the right. If Cinderella calls her stepmother out on her cruelty, or attempts to fight back, Lady Tremaine can frame that as Cinderella being ungrateful, cruel, broken, evil, etc. If Cinderella responds to her stepmother's cruelty defiantly (in the way she's justified to), she's not taking control out of Lady Tremaine's hands. Disobedience can be spun back into her stepmother's control. She wants Cinderella to be angry and sad and show how much she's hurting. So since Cinderella is adapting to her situation, she chooses to be kind. Not only because she naturally wants to be and it's part of her personality, but because it is a form of defiance in its own way, and it allows her to keep a reminder of her agency and value. Her choice to be kind is her chance to keep her own narrative alive: she is not obeying because her stepmother wants her to and she has to do what her stepmother does, but because she wants to. It's a small distinction, but one that makes all the difference in terms of keeping her hope and identity. (Fuck, I wrote a whole paragraph about how this doesn't mean you can't be angry at people who hurt you or that you need to be kind to deserve help, and then deleted it by accident. Uh. Try again.) Expressing anger and pain is an important part of regaining autonomy and healing. Although it is commendable to be kind while you are suffering, it is NOT required for you to get help or be worthy of help. If Cinderella's recovery was explored beyond "happily ever after" she would need to let herself be angry and sad to heal. Cinderella is not only kind because it comes naturally to her, but because it's her defense against the abuse she's suffering. Everyone's story and experiences are different, and one does not invalidate the other.

Bonus round for answers that aren't part of the movie:

Why didn't Cinderella run away? Where would she go? Genuinely, in hundreds-of-years-ago France, where would she go if she snuck out of the window with a change of clothes? With her step-family, she's miserable and abused, but she's fed, clothed, and in no danger of dying or being taken advantage of by anyone other than her stepmother and stepsisters. Even if she escapes and manages to find financial security, her stepmother might be able to find her and get her back.

Why didn't Cinderella burn the house down with them inside it/slit their throats in the night/poison their food/etc.? Because that's a revenge fantasy, and this story is a fantasy about being saved. There's nothing wrong with making Cinderella into a revenge fantasy. That's perfectly fine, as long as you acknowledge that the other type of fantasy is also a valid interpretation. (I mean, the original fairy tale features the stepsisters getting their feet mutilated and all three of them getting their eyes pecked out, so go for it.)

Why isn't Cinderella more proactive in general? Because she's a child who has been abused for the back half of her life, who has had to be focused on survival because. you know. she's an abused kid.

How did she dance in glass slippers? Gotta agree with you there man, that's weird.

[sammydem0n64]

I've also been thinking about Rinoll a lot recently and like. Guys she. She kinda wins in the end? SPECIFICALLY in regards to her relationship with Chocip. She gets what she wants in the end with NO consequence. Dude.

[still-a-morosexual-help]

I find it really funny that Mammon is genuinely one of the kindest demons,

• He rarely loses his temper

• He was picked to look after a human because of this and so he's the only brother that never attacks or genuinely threatens MC

• He adopts some random 9yr old orphaned human, is determined to pay for all her needs until she's an adult, and lets himself be extorted by the witches just so they continue to look after her

• He forgives any slight against him if the person who wronged him says sorry

• He has put Luke's happiness & safety over money multiple times

• His whole reason for Falling was just so he could follow Lucifer & continue supporting him while he was suffering

• He gave a birthday present he received to a random demon who tried to hurt him because he figured that demon needed something to make him happy

• Even though Raphael doesn't see the good in him, he still wanted to help Raphael see the beauty of the Devildom

• He was worried about Simeon and ready to fight Michael on Simeon's behalf

• He tries to give up a prize he would have won for Asmo

• The thing that makes him initially reach out to MC in Nightbringer is seeing them being nice to Levi

• Levi describes him as a "jerk with a heart of gold"

• Levi says Mammon makes friends easily and isn't selfish

• He cares deeply about consent

• MC says he's "innocent & genuine"

• MC says Mammon has "always been kind" and the others don't disagree

• He says that angels, demons & humans are all people and shouldn't be treated differently because of what they are

• He gets upset because of the way Cinderella's family treats her because he thinks family should love each other, and it doesn't matter if they are blood related or not

• He cries during nature documentaries

• He's the one that takes the first step to make things normal with Belphie again after what happened in Lesson 16 despite the fact that he was the one who was most outwardly affected by MC's death and was mocked for it by Belphie

BUT

The only thing stopping him from doing a complete 180° and becoming a villain is that MC has decided to use their considerable power for chaotic neutral level hijinks and not chaotic evil level destruction

[ladysharmaa]

My miracle

Anthony Bridgerton x reader

summary: Anthony’s wife is in labor and it’s not looking good

warnings: mentions of death

“Where is she?” the loud voice of Anthony was heard in the entire mansion. The door he opened slammed into the wall but he couldn’t care less as he saw some servants running his way to take off his coat. “Tell me where my wife is!”

“My apologies, my Lord.” the poor man trembled under the Lord’s menacingly glare, that were just a cover for the worry and fear that was running though his veins. “The Viscountess is in your chambers. The midwife and your mother are already present with her. Shall I inform your brothers to come and wait with you until the child is born?”

Anthony didn’t bother to respond. He quickly climbed the stairs, two steps at once, seeing with wide eyes as the maids ran to his room with towels in their hands. He doesn't even settle for knocking, immediatly opening the bedroom door. None of his mother's stories could have prepared him for the sight that lay ahead.

His darling wife was drenched in sweat, dressed in her nightdown. One hand was on her round belly protectively while the other was in his mother’s hands, who was whispering words of comfort. Her jaw was clenched in pain and it was only then that he noticed the midwife between the Viscountess legs. 

“You!” Y/n screamed accusingly, managing to point a finger at Anthony with hatred. “You did this to me! You will never ever put your hands on me again!”

“I-” Anthony was at loss of words. He knew that his wife was in pain, and looking like she was ready to kill, so he just nodded his head in agreement. He took slow hesitant steps towards the bed, hoping to comfort her without dying. “I’ll never touch you again, my love. How are you feeling?”

“How do you think I’m feeling? I’m pushing your child that inherited your big head out of my lady parts! So tell me, my dear husband, how am I feeling?”

“Like you are giving birth?”

“Anthony...” his mother whispered while shaking her head in dispair. “You should leave the room. Your brothers must be coming to keep you company. We shall call you when the child is born.” 

“I’m not leaving my wife.” was the only thing he said with firmity, holding Y/n’s hand and kissing her soft skin gently.

She turned to him, a change in her demeanor, eyes full of tears of terror. “I’m scared, Anthony. It hurts.”

“I know it hurts. It’s okay, love. You will be alright and then we will have our child with us.” he whispered. A feeling of guilt washed through him. How could he have made his wife suffer through childbirth? “You are the bravest person I know. So so much braver than me and everyone else. I’m so proud of you.”

"I can't do this. It hurts too much. Make it stop, Anthony, please." Y/n cried.

It was only then that Anthony saw the look in his mother. She was worried, exchanging looks with the midwife. And as much as the Viscount would like to also show his anguish, his first priority was to comfort Y/n. "It's going to be okay, my love. Just a little longer, you're being so strong."

But she no longer had the strength to respond. It was getting harder and harder to keep her eyes open and she just wanted to sleep to escape the pain. Between her legs, an increasingly larger pool of blood was forming. Anthony's eyes were wide and there was enormous pressure in his chest. It felt like I was running out of oxygen, and it only got worse when Y/n finally gave in to unconsciousness.

"What's happening?" he whispered, looking in alarm first at Violet. Afterwards, he turned to the midwife furiously. "What's wrong with her? Help her! Do something!"

"Anthony, you need to leave." Violet advised, trying to remain calm for everyone's sake. Anthony was becoming more and more desperate, tears falling from his eyes as he grabbed his wife's hand tighter and brought it to his lips.

"I'm not going anywhere!"

"Viscount Bridgerton, the baby is in pain. You won't want to see what I'm going to do. I promise I'll try to save both of them." the midwife said, taking a small knife and flying it over Y/n's stomach.

"If you need to choose, save my wife's life." Anthony begged, now more desperate as his mother called his brothers to take him out of the room.

"Anthony..."

"No, mother, you save my wife's life!" Benedict and Collin grabbed the man by the arms and began to carry him outside, despite Anthony's struggle. "You hear me! My wife is going to survive! Let me go! Mother, save Y/n!" he shouted before the door closed in his face. 

The last thing he saw was the woman making the cut on Y/n's stomach, who woke up with a jolt. She then let out a scream that would torment Anthony for the rest of his life.

With a cry of anger mixed with sadness, Anthony broke free from his brothers' grip and put his hands to his face. He didn't want to think about the possibility of losing the love of his life. He simply couldn't take it.

"Wow, Anthony, calm down." Collin whispered when Anthony, in a rage, threw a punch against the wall. "The Viscountess is a fighter. If anyone is capable of overcoming this, it's her."

"You don't tell me to calm down, Collin. Not when my wife is in that room fighting for her life over something I did." he cried, jaw shaking and eyes red that only showed the immense pain he was in. He sat on the floor, leaning his head back and looking at the ceiling. "I need her to live."

"And she will live, brother. I will bring a drink, and we will wait together for news." Benedict said, rushing to bring the alcohol when Y/n's screams became louder.

On one hand, each scream was like a stab in the heart of Anthony, who was increasingly pale and looked like he was going to vomit at any moment. On the other, it was the only way to know she was alive.

Moments passed. The Viscount didn't know if it had been seconds, minutes or hours. Things seemed to be getting mixed up in his mind. Nothing made sense, not when the love of his life was in the next room in pain and he was away from her. He had to protect her, it was his obligation as a husband. And he failed.

And then came the moment when Anthony's heart stopped. A baby's cry was heard, and he allowed himself to smile a little. He had a son or daughter. A mini version of his wife. And then he burst into tears when Y/n stopped screaming and everything became too silent.

It was uncontrollable. He cried without being able to stop, making it even difficult to breathe in. Anthony refused to believe that he would have to raise this child without Y/n. Without her affection, her kindness, her love. He didn't want to open his eyes and realize that all this wasn't a nightmare, but reality.

Benedict and Collin didn't know what to do. But one thing was certain, they would be there to help Anthony with whatever he needed and never let that child forget the wonderful mother he had. Then, Violet left the room holding a pile of blankets that held the baby.

"You have a daughter, Anthony."

He just cried more. His body was shaking and he couldn't even look at his mother and the baby. "Y/n... Is she...?" He took Violet's silence as a yes. "Oh god..."

"Enter the room, Anthony. She is waiting for you."

Anthony had never stood up so quickly in his life. He quickly opened the door, stopping momentarily when he saw the amount of blood on the sheets, but the most important thing was Y/n's half-open eyes. She was alive and looking around the room in confusion.

"Anthony? Where is my baby?" her voice was hoarse and extremely weak.

The man fell to his knees at the edge of her bed, and lowered his head to rest on her chest. A feeling of relief spread throughout his body when he felt the rising and falling movement of her chest, indicating that she was breathing and that it wasn't just his imagination.

"I love you so much." he cried, feeling her hands start stroking his hair. "I'm sorry. You were so brave and strong. I'm so proud of you, my love."

"Where is my baby?" Y/n didn't want to seem like she didn't appreciate Anthony's words because that was a lie. He was the most important person in her life. But at that moment, Y/n just wanted to know where her baby was.

"She's right here, dear." Violet reassured with a smile, announcing her presence.

Very carefully, she passed the child into the arms of her son's wife, her smile widening as the little family was finally together again. The new parents had a gentle smile as they looked at their creation, a new love emerging for this fragile human being.

Anthony kissed Y/n's temple. "We have a daughter."

"She is beautiful."

"She takes after her mother." Anthony quickly said, never feeling so much love as he did in that moment. 

He was extremely proud of Y/n admiring her strength and courage. Now, he was going to protect his two girls until the end of his life. Nothing was more important than his family.