#Austen music scene

[nugothrhythms]

“Living Well” by Austen, Texas-based dark synthpop and post-punk act Urban Heat off of their 2022 album Wellness

[astrobei]

you know what i need so bad more than anything actually is a byler moment a la the pride and prejudice (2005) hand scene where mike helps will climb up onto a rock/over a tree branch/up from the ground etc and the camera zooms in on mike’s fingers gripping will’s hand as the music swells softly, thumb brushing over his knuckles, lingering a little too long as will goes to move away, and then will flashes him a shy little smile and is like “hey, thanks,” and mike, a little flustered and caught off-guard is like “yeah, of course,” and then he panics and runs off to join whoever’s up ahead and the camera zooms back in on him flexing his hand in stunned silence

[theladyfae]

. hindi dub crowley has watched kuch kuch hota hai

[cinemaocd]

I honestly think the scenes of greatest intimacy in Austen are those moments of unspoken solidarity between people when they have to deal with a difficult person: Emma and Mr. Knightley handling the crisis of snow at Christmas, Darcy and Elizabeth curtailing Caroline Bingley's bitchiness to protect Georgiana in the music room, Wentworth seeing the child clinging to Anne's neck and wordlessly removing him, Edmund and Fanny dancing silently together at the end of a long ball, just enjoying being introverts together away from the Crawfords, Col. Brandon fetching Mrs. Dashwood because she would be of comfort to Marianne and Elinor...

[allyricas]

I love gay Eddie and bisexual awakening Steve. It's solid and popular for a reason. It works, makes a lot of sense.

But...I also love flirty-cluelessly-queer Eddie and comfortable-with-his sexuality Steve.

Eddie does flirt. With everyone. It was pretty clear he was flirting with Chrissy. He was flirting with Steve. Calling him big boy and getting up in his personal space, being all cutesy.

So, imagine Eddie just casually flirting with Steve and it doesn't mean anything to him. He's just being Eddie. He isn't even aware that it's flirting. He really considers it teasing. The man is dramatic and silly. He loves to make a scene. So "teasing" people is fun for him.

Eddie who is a super senior running a DnD club for outcasts, loves Lord of the Rings, plays in a metal band. I think Eddie is always into some sort of hyperfixation to be trying to bang chicks or dudes.

There was totally a phase were he was obsessed with folk and old country music (Woody Guthrie much). There was the Jane Austen phase (It fits, c'mon). The time he tried to learn to crochet. His lasting phase with fantasy novels. His intense love of metal music. He knows a lot about music in general. Obscure shit. Oh, those handcuffs-definitely from his magic phase. Tell me, 12 year old Eddie didn't want to be a magician. He probably did card tricks, the whole deal.

Eddie would be the kind of guy who'd spout all sorts of random knowledge. He probably has one specific time period in history he could rant about for hours.

The man has raging ADHD (takes one to know one). He's a self-professed nerd and outcast. The only thing that might be considered "cool" is that he plays in his band. But even then, he's a total nerd about it.

Eddie is hot as hell. That is undeniable. But Eddie has been too damn busy being a fucking nerd to date or hook up. I think he's so focused on his interests, it could easily not have been on his radar. Same way he's failed senior year twice in a row despite being smart as hell. The shit they are trying to teach doesn't interest him and that makes Eddie fucking struggle.

He's bouncy and hyperactive. He probably has terrible tunnel vision when he gets into a book or movie or campaign. Dating has thus far not been interesting enough especially combined with how he's treated by the people in Hawkins.

So, yeah- he flirts and teases. He thinks it's harmless fun. With Chrissy, it was a way to make her feel safe and lighten the mood. With Steve, it's a way to disarm him. It's King Steve afterall. Why not play up the metalhead freak persona. Let him think he's weird.

It isn't until Steve starts flirting back and gives Eddie butterflies that Eddie realizes this is not heterosexual behavior. And he knows a lot about that because he was accidentally flagging for a whole goddamn year. Because he wanted to look metal as fuck and thought the bandana was badass.

Steve calls Eddie princess. Calls him pretty boy. Throws in a babe. Everytime Eddie refers to him as big boy or Stevie, Steve just smirks and comes up with a new pet name that wrecks Eddie (who has no idea what is fucking going on). Throw in the boys getting high together with no inhibitions and Steve actively trying to romance him and Eddie's in a full blown sexuality crisis.

best part: Steve thinks Eddie is gay because of the bandana that he wore all year. Add in all the flirting and then Steve's really putting the moves on totally clueless Eddie. And say what you want about Steve, but he has game. I can just imagine Eddie trying to frantically figure out why all of the sudden he wants to make out with Steve "the hair" Harrington and Steve's like...aren't you gay?

(if anyone knows of steddie fics anything like this, please rec them!)

[buckymorelikefuckme]

most ardently

lloyd hansen x fem reader

words: 1.1k

warnings & tags: probably inaccurate regency era, pride & prejudice (2005) inspired, i've made lloyd quite soft in this i'm so sorry, enemies to (implied??) lovers, some natasha/sam crumbs even though they're in a totally different franchise/universe pls let me have this, idk idk idk idk it's just!!! this!! also my bad @ mr. collins

a/n: p sure i mentioned being on a jane austen kick lately so this is definitely the result of that. literally wrote this just now so it's absolutely unbeta'd or proofread and i honestly don't know if it even makes sense. might delete it later, we shall see. anyway! feedback is highly encouraged and greatly appreciated. xo

“May I have the next dance?”

Your joyful laughter, shared with your dearest friend, Natasha, abruptly cuts off at the sound of his voice. You blink a few times, as if that will help make sense of the scene before you. The chatter of the ball fades away for the briefest moment.

Mr. Hansen stands stiffly, his spine straight as an arrow, chin held high. His expression holds his ever present disdain and aloofness, but his eyes… For the first time, you're sure you see a hint of uncertainty. It looks rather misplaced on him, especially since he's quite vocal of his own assuredness in practically everything, and yet, there it rests.

“You may,” you hear yourself respond after a pause.

Out of the corner of your eye, you see Natasha’s head turn to you in a snap, no doubt mirroring your internal shock at your reply, but your gaze remains held by the man before you. Mr. Hansen’s shoulders loosen imperceptibly and he nods, giving you a quick bow and waiting for your polite curtsy. He lingers, looking as if he wants to say more before he seems to think better of it and finally leaves.

As soon as she deems it alright, Natasha is dragging you behind her hastily, leading you to a more quiet corner in a different room, whirling around to face you with her eyebrows almost reaching her hairline.

“What have I done?” you whisper in a panic.

She raises one of her hands to cover her amused grin. A stifled giggle from her makes you let out a hysterical one of your own, and then the dam breaks. You're back to laughing together, though for an entirely different reason this time.

“Perhaps you will enjoy your time with him,” she suggests playfully.

You groan in protest through your smile. “But I don't want to enjoy my time with him.” With a dramatic sigh, you continue, “Though, I suppose it's better than allowing his misery to affect my mood.”

Natasha rolls her eyes. “I dare say he will not be the miserable one during that dance. He could surprise you, you know,” she counters, her expression pointed yet kind.

“Somehow I sincerely doubt that,” you reply haughtily, which has her giving you another pointed look that has you laughing. “Come,” you say, “let us find a better hiding spot. I want to keep out of Mr. Collins’ sight so I will not have to dance with him again.”

“That is fair,” Natasha concedes with a grin. “Hopefully we’ll find space near Mr. Wilson and he’ll finally ask me to dance.”

You do not have the heart to tell her that her confidence intimidates him, but you do still silently hope that he will ask anyway.

***

To her delight, Mr. Wilson does ask her to dance, just in time to line up with all the other couples before the music starts. You are among them with your sour-faced partner, Mr. Hansen. There are more than a few envious glares sent your way, though you cannot understand why.

Sure, Mr. Hansen is objectively a handsome man, and he's far richer than anyone else at this ball, but he's also blunt and rude and prideful. He leaves much to be desired with every unwanted conversation you have with him. It's as if he enjoys ruffling your feathers on purpose. Very unbecoming of a gentleman, in your opinion.

“Are you having a pleasant time this evening?” Mr. Hansen asks a minute into your dance, sudden and awkward.

“Quite,” you reply, attempting to maintain civility, but hoping to dissuade conversation.

Mr. Hansen’s brows furrow slightly at your curt response. “I’m glad the merriment is to your liking.”

“I should not think my opinion on the matter makes any difference for you,” you say, eyeing him curiously.

He clenches his jaw, looking away. “Right. Of course.”

The rest of the dance is spent in tense silence. No sooner than the music ends, you are curtsying and attempting to slip past him without having to speak another word. However, one of Mr. Hansen’s many admirers decides to take revenge on you for stealing a dance from him by purposely sticking out her foot to trip you. A gasp escapes you as you lose your balance, yet before you can embarrass yourself completely by falling to the floor, two strong hands catch you by the waist, spinning you around in their stronghold.

Your shocked gaze meets Mr. Hansen’s, his arm warm where it's wrapped around you, as is his other hand on your shoulder as he stabilizes you. His eyes, this time, are full of true concern, of worry. They trace every inch of your face, his so close to yours that you can feel the puffs of his breath across your chin.

“Are you hurt?” he inquires softly.

There's an odd, swirling feeling in your stomach, heat rushing up your neck to your cheeks at his proximity and the unusually gentle way he's handling you.

“I… I’m fine,” you stammer.

He cuts his eyes to whomever stands behind you, his face falling into a familiar and severe scowl. “I believe you owe her an apology for your childish actions.”

You finally manage to pull your stare from him to the accused person. The woman is flushed with shame at having been called out, stuttering through her, no doubt, half-hearted and insincere apology, her eyes flitting to the people watching the scene unfold.

“All is forgiven,” you rush, cutting her off. “Thank you.”

She shifts from foot to foot, pursing her lips unhappily, then finally curtsies and hurries off. Her absence draws your attention back to Mr. Hansen, who is still holding you securely and glaring at everyone else and their prying eyes, shifting them away from the two of you.

“Mr. Hansen,” you start, his head whipping back to you and his grip tightening. You exhale shakily. “I am grateful for your help, but I am sure I can stand on my own now.”

You see the exact second he realizes, his hold relaxing slowly, fingers peeling themselves off of your body as he takes a step back. For whatever reason, you feel wobbly on your feet at the loss of him. Mr. Hansen swallows as he rights his coat, bowing jerkily and turning on his heel to walk away. You watch his hand flex at his side, feeling the phantom touch of it on your shoulder.

Natasha enters your view, Mr. Wilson in tow. Her expression is full of questions, but you find yourself at a loss for any answers, your stomach and heart fluttering in what you can only assume is nerves at the near mishap.

That has to be why, surely.

…Right?

[charlotteharlatan]

A list (non-exhaustive) of why the 1941 flashback scenes are haunting both me and The Narrative, Part 1:

1. Both S1 and S2 have scenes that take place that night - THAT CERTAIN NIGHT - in 1941. It is specifically revisited in S2, which leads the audience to believe that night was of particular importance, both to Crowley and Aziraphale’s relationship and to the overall plot of the show.

2. In the same vein of things that are referenced more than once, the song “A Nightingale Sang in Berkeley Square” was first released in 1940, and it’s entirely plausible that they both heard it for the first time in 1941 while in each other’s company.

All evidence points to the song being personally significant to Aziraphale and Crowley. We know it as Their Song, and they seem to think of it that way as well - otherwise Crowley’s “no nightingales” comment in the last 15 minutes of S2ep6 would not have struck Aziraphale so hard; we can see by his expression that the words affect him. With that statement, Crowley seems to be referencing not only the song itself, but possibly also a specific memory they share that involves that song.

At first, one might assume he means the occasion at the Ritz at the end of S1, because that song is indeed playing in that scene. However, I think that scene itself is also partially a reference back to 1941, which I’ll get to in a later item.

3. When examined closely, many scenes and plot elements from the rest of the show may be nodding to 1941. When Crowley and Aziraphale discuss ways that humans fall in love in the pub scene in S2ep2, Crowley references being caught under an awning in the rain, a very transparent callback to Eden when they huddled under Aziraphale’s wing.

So, Crowley’s contribution harkens back to Eden, but what does Aziraphale mention? What is called to his mind when he thinks of falling in love? Cotillion balls. Music and dancing. Things he’s read about in Jane Austen novels, the moments therein where the protagonists realize they’re in love. On its surface, Aziraphale’s idea of falling in love seems more like an abstraction than something the angel has experienced himself. Except: perhaps he has. Perhaps, just like with almost everything Aziraphale says and does, we should be looking at it much deeper than surface level.

Maybe he’s projecting just like Crowley is, just in a less straightforward, more opaque sort of way, which you have to admit would be very in-character of him. Maybe he’s thinking of a moment we have not directly seen yet, a moment that has only been gestured to. In other words, “a joke the paleontologists haven’t seen yet,” the paleontologists in this case being, well, us. We know Aziraphale is actually capable of sleight of hand in the right circumstances, so maybe him talking about a ball is only a feint, a flamboyantly waving hand as a distraction to keep our attention away from what the other hand is doing. Maybe he is also recalling a specific memory of himself and Crowley, one that involved music and dancing, and the realization that the feeling between them was love.

So with all that in mind, what moment from the show do we have great reason to believe was Aziraphale’s realization of his own feelings, and to an extent, Crowley’s as well? Yup, you’ve got it: 1941 again. The aftermath of Crowley rescuing him at the church and saving his books. The face that launched a ship. (Sorry.)

4. Backtracking slightly to the topic of music and dancing and The Ball, let’s talk about this: just like Crowley “did a rainstorm” to try to get Nina and Crowley to fall for each other the same way he fell for Aziraphale, The Ball may have been Aziraphale’s effort to recreate the occasion on which he realized he’d fallen for Crowley. Perhaps it was intended to be a “do-over” of past events where they almost connected, with the aim of finally reaching each other this time. We’re all aware by now that while Aziraphale did fully intend to get Maggie and Nina together, he also threw a ball specifically to dance with Crowley.

It does initially seem odd that he thinks Crowley will respond well to such a big, ostentatious party, but perhaps Aziraphale has tried the subtle route before to little avail. Like when, you may well ask?

5. Well, for one: their rendezvous in 2008, right after the Antichrist arrives on Earth, in S1ep1. Crowley has been unsuccessful in convincing Aziraphale to help him avert the apocalypse, but the angel has fewer qualms about a lunch date at the Ritz.

After the Ritz, they go back to the bookshop, with Aziraphale telling Crowley he still has some Chateauneuf du Pape left “for special occasions,” which is an interesting comment - the reason why this is a special occasion to Aziraphale is never named, as Crowley glosses over it in favor of pointing out that nobody will be having any wine anymore if Heaven wins the upcoming war. Aziraphale reiterates his refusal to engage with that topic, and ushers Crowley into the shop.

All this leaves the vague impression that Aziraphale has his own agenda for the evening (because all appearances of passivity aside, the angel almost always has his own agenda). And Crowley, not noticing this or perhaps choosing to not notice it, is throwing a spanner in the works of said agenda by continuing to bring up the apocalypse. And so, stuck at this stalemate, they drink the ‘special occasion’ wine in the shop, and listen to music, and get very drunk. It’s a small detail, but we know the music is coming from the gramophone because it’s the same record Aziraphale was listening to when Crowley called him the night prior.

So, wine and music. Why are these elements significant? It isn’t named, but in S2ep4 when Aziraphale and Crowley have returned to the bookshop after the magic show, the bottle of wine they share in the back room is the same kind, Chateauneuf du Pape.

And while there is noticeably no music playing when the two of them are sitting in the quiet, private, candlelit back room of the shop, the gramophone can be seen over Aziraphale’s shoulder in many parts of the scene, looming over their conversation like a musical Chekhov’s gun.

And here’s the real kicker: the gramophone, as it happens, is normally positioned facing the opposite direction. In bookshop scenes from the rest of S2, even earlier on in that very same episode, we see it facing the usual way, in the direction of Aziraphale’s desk.

This means that it was intentionally turned so that the “mouth” of the gramophone would be visible in this scene, and turned towards Aziraphale and Crowley. You may well ask: “the background of this scene is dark and out of focus, how can you tell for sure which way the gramophone is facing?” If you look closely, you can see the gramophone’s crank is on the right side, visible in some shots past the lip of the wine bottle. If the gramophone were facing in its usual direction, the crank would be on the left and invisible in these shots.

And, to add another layer to it, we know how important cranks are as a symbolic object in this series, how much power these objects can hold in the hands of the correct wielder. Crowley turns a crank to prime the engine of the universe - in other words, to begin the music of the spheres; and much later, he uses the Bentley’s crank when he restarts time on the Tadfield airbase. What if the gramophone’s crank was used in a similar way in 1941, to temporally create a little universe of their own, either metaphorically or literally?

Great care was taken in planning every aspect, every little detail of this show; almost nothing is a coincidence; staging scenes especially is done with the utmost degree of care. All of this to say, we as the audience seem to be meant to relate the scenes from 1941, 2008, and 2023 narratively, even though they take place decades apart. Throughout the years, Aziraphale may be trying - subtly at first, but then less so - to recreate the events of 1941.

Okay, that’s items 1 through 5. I definitely have more but I hit the limit for gifs and images for posting via the mobile app, so I’m going to have to post the rest in at least two more parts. Because I still have ghosts in my head and I must write about it. Hauntings are easier to handle if there’s someone in the house with you who sees the ghosts too.

Link to part 2

[ok-sims]

Things in Good Omens 2 I still find weird after maaaaany rewatches

Yep, brace yourselves, it's exactly what's in the title:

Maggie making the spelling mistake ("urgrency") in one of the very first scenes of S2.

It is in the very first scene set in the present day. It is the first time we are presented to Maggie. And the spelling mistakes being very much connected to demons all through the season (specially in The Ball episode, with the note about the "angles" and Shax spelling "T-O-S-T-E", not to mention Furfur mispelling Aziraphale's name in 1941).

It is stands out so much because Maggie's mispelling is never brought up again, but the demons' is. And again, it was the audience's first contact with Maggie (even if she is offscreen). It might be just a callback joke (which does not make much sense to me, to be honest), it might be just red herring, or it might be to reinforce the "Maggie is a mirror to Crowley" theory (which does not make much sense to me either, because while Crowley is/was demon, we never see him making spelling mistakes himself).

I'm honestly at loss about what was the intention here. Seens to specific to be just random, given the demons do it many times. My best guess is that it is pure and intentional red herring, to mess with us. But then again, what for?

Miss Cheng (specially in E5S2, "The Ball")

Since my first watch, the brief scene when Miss Cheng is entering the Bookshop for Aziraphale's thinly disguised excuse to have a Jane Austen ball, she has a very... particular look in her face. It is when the weather is getting darkier e gloomier, resembling Michael Jackson's "Thriller" videoclip, because Shax and her "legion" of demons are arriving. The thing is, Miss Cheng does not look afraid at all, or even like she is suspecting something is going on. Miss Cheng looks suspicious herself! I feel like this scene is off in so many levels. First of all, it did not need to be included at all. So why add this scene to the final cut? Miss Cheng does not have a very clear role in the narrative, while all the other shopkeepers have at least something that not only sets them apart from everyone else, but adds something to the narrative and/or callbacks something else in the series.

Beside the obvious Nina and Maggie, Ms Sandwich brings to the table the comical relief, Mr Brown is there to set the excuse for the Jane Austen ball, Mr Arnold provides the fancy classical music for the ball AND the Doctor Who jokes, Justine is an excuse to bring up Aziraphale's bad French again, and give us a callback to the Bastille scene in S1, and Mutt is a callback to the magic shop shown in the zombie minisode.

But Miss Cheng on the other hand brings none of those things. We don't even get to see what is her bussiness. Of course, her scene discussing Ms Sandwich's work is a delight, but honestly, it could have been any other character asking about Ms Sandwich's job. And opportunity to have Ms Sandwich ask what Miss Cheng's work was there, but it was not taken.

Now, the only other scene Miss Cheng is in focus is in the very end of E6S2, when Maggie and Nina decide to sit down with Crowley to have The Talk. Nina asks Miss Cheng to look after the coffeeshop for a few minutes. Again, seens kinda random to have Miss Cheng there, and I really think this specific scene, by itself, might not have any further meaning. But when viewed along her other scenes (and specific lack of better fleshing out, which was given to all other shopkeepers), it just seens weird. Again, might just be a red herring to mess with us, but Miss Cheng is presented in a very sus way.

Aziraphale not having a replacement

Odd phrasing, I know, but I could not find better words to describe it. We are presented very early on to Shax, who is replacing Crowley in his former job in Hell. Shax is an important character all through the season, yet we never get a hint at who is replacing Aziraphale's job vacancy. We don't even get a hint if there is a replacement, or if it was decided Heaven would not be replacing him. We just get radio silence about who is Heaven's representative in London now, or if something happed to that position and why. Maybe if Shax simply did not exist, it wouldn't have bothered me. But since she does, and it is made clear many times that she has Crowley's former job, it stands out to me that nothing is ever said or even alluded about Aziraphale's former job position.

There are some other things that stand out to me, but these are the more obvious ones to me. I would be delighted to hear other people's takes on these matters, as I might have missed something. Oh well, I guess here is my first piece of Good Omens meta.

[nerdierholler]

Scenes I love in Pride and Prejudice 2005 that aren't the hand flex, rainy proposal, or foggy morning walk:

Charlotte telling Lizzie she's marrying Mr. Collins: "Don't you dare judge me." Yes Charlotte tell her! This drives home the reality for someone in her situation. She's an old maid at 28, the clock is ticking. Mr Collins may be an obnoxious fool but he's unlikely to treat her poorly, run up debts, or cheat on her so he's not a terrible choice at the wire.

Lizzie staring into the mirror when Darcy leaves the letter: Listen, I think we've all had the moment in our lives when everything seemed to be going wrong and all we could do was stare into space and dissociate a little. But also, ya know, cause when Darcy shows up he's looking a little more casual. I see that loose shirt without a vest or cravat sir.

Lizzie on the rocky overlook: The music, the scenery, the fact that it's the DVD menu screen and I woke up to it looping in the background after falling asleep more times than I can count. I know I'm not alone in this.

Lizzie in the sculpture gallery: Weirdly, this was the scene that took my breath away the first time I watched the movie. That statue of the veiled vestal virgin is just fucking breathtaking. Plus the general vibes of the whole scene with the music and everything as Lizzie begins to soften towards Darcy.

The scramble to look suitably engaged when Bingley shows up: It's a little moment of comedy . Overall about this movie I just love the messiness of the family and how lived in everything feels. Is it historically accurate? No. Do I care? Also no. It's about the vibes. And I just like the family not entirely being terrible people and hating each other. Not what Austen wrote but I think the softened edges work well for a movie adaptation, especially to appeal to modern audiences. Follow up along the same lines is the bedtime "I know she could not be so beautiful for nothing" scene.

[aziraphales-library]

hello there!! first of all this blog is absolutely amazing tysm for all the work put into it :)) secondly, do you have any recommendations for fics where crowley or aziraphale confess before metatron entered the scene (e.g. aziraphale confesses sometime at the ball/crowley confesses at the “smitten” scene)? again, thank you so much 💖

Hi! Here are some fics in which love confessions happen earlier...

just thinking of you, i know i’ve loved you from the start by ineffablyseraphic (G)

"Angel, what is going on?" Crowley growled, keeping his voice low. Aziraphale felt his heart jump as he did so. "Nothing, my dear boy," He assured, "We’re just having a ball. Jane Austen, remember?" Crowley scoffed. "We both know this won't work. This isn't the 1800s anymore. People just don't… fall in love with some froofy violins and choreographed dance moves." — or basically my take if the demons didn’t storm the bookshop and aziraphale got to confess.

A Dance Of Our Own by LynFraser09 (T)

He slid his hand down Aziraphale’s arm to grab his hand and then with his other hand, snapped, and the record player scratched as it came to life. Aziraphale’s face lit up in a smile and he squeezed Crowley's hand and slipped his other arm around him as the familiar music floated into the bookshop. OR An Alternate Scene where the Demons don't attack the bookshop that night and Crowley and Aziraphale share a dance and something more.

Smitten by chaoticstreamer (T)

"When Gabriel smites you, you've been... smited? Smote?" "Smitten, I believe." Aziraphale was viscerally aware that his face was showing more than he ought, yet how could he have stopped? Aziraphale's heart was beating unnecessarily, the notepad clutched in his hands tighter as he smiled at Crowley. Yes, smitten was the word. ------‐---------------------------------------------------------- Or, What if the demons hadn't attacked? What if Metatron hadn't come down... what if they had confessed?

no one's got what we've got going by shrack (G)

Nina asks Crowley if Aziraphale is his partner. Crowley thinks he would like it if Aziraphale was. or: Crowley confesses at Marguerite's before The Ball.

we should just kiss like real people do by lesbicosmos (G)

imagine if the bookshop dance scene didn't get interrupted by demons. this is that fic.

blame it on the boogie by hannotsolo (T)

“A slow dance?!” “Yes, a slow dance!” —————————- What if Shax never got to interrupt the ball and things got a whole lot more romantic.

- Mod D

[somehow-a-human]

Whose POV is it Anyway?

The Ball

DO NOT ASK NEIL ABOUT FAN THEORY

The ball, ah the romantic sweet ball. Episode 5 gives us the build up to the Jane Austen style Whickber Street Shopkeepers Association Monthly Meeting. We then see the event itself, before it is rudely interrupted by some bottom-of-the-barrel-practically-the-damned demons.

For reference & context, I recommend reading these posts:

Whose POV is it Anyway? - Introduction

Lens Filters

POV "Your 'Something's Wrong' Voice"

POV a Trip to Hell and a 25 Lazarii Miracle

POV a Companion to Owls

POV The Dirty Donkey & I think I Found a *Clue*!

POV Bodysnatchers & Cosplaying a bookseller

POV 1941

Read this meta with me? While we dance?!

Episode 5 opens with Crowley pulling up to Whickber street and getting out of the Bentley. He meets Aziraphale in the street and after confirming he's really going through with hosting the meeting begins his demonic guard dog duties which basically just consist of following Aziraphale around all day.

His sideburns are short, he's being short and snarky with Aziraphale in regards to the hosting the meeting; we're not seeing Crowley obstructed by anyone else's lens, we open with Crowley's POV.

When we enter Arnolds Music Shop and the lighting is significantly warmer, the camera shot is centered on Aziraphale and Crowley's sideburns are long. We've switched to Aziraphale's POV. He gives away a book, we see an alarmed look from Crowley but no reaction.

Once they leave the music shop, Crowley's sideburns are short again, the lighting is toned cooler, and he immediately grills Aziraphale about giving away a book. We've switched back to Crowley's POV.

The next stop on Whickber Street is the Will Goldstone's Magic Shop. The lighting is warm and glowy here, and I would easily say this is the Bronze Glimmerglass filter that I typically also associate with Aziraphale's POV. Crowley's sideburns here though are short. This is one of the only times, if not the only time they are incongruent with the assumed filter (if I am to be trusted in my analysis). I think it is also worth noting that this was the first scene David and Michael filmed together for season 2. So, if this whole series of posts I've been writing is a complete waste and Davids sideburns simply grew out as filming went on and they didn't trim them at all, well then this would support that theory lol.

When they talk with Ms Cheng in the street we are back to cool toned lighting, and short sideburns, indicative of Crowley's POV. They talk to Justine, same thing.

Crowley realizes "Oh I'm in human love with Aziraphale", still his POV.

"Smited, smote, smitten" is still Crowley's POV. The lighting seems warmer because they are sitting under a yellow awning and surrounded by fairy lights but the shot is missing the warm haze and glow.

When Crowley goes to confront Gabriel, the lighting is indiscernible but Crowley's sideburns are long.

By the time Crowley makes it down to tell Maggie & Nina to come to the meeting, the filter being used on Whickber Street appears to be Hell's filter, Black Pro Mist (BPM). Crowley's sideburns are long. He confronts the demons and then the ball is in full swing.

The entire ball is shot through a heavy dose of the Bronze Glimmer Glass filter. Each of the filters has different strengths that can be used, and this must be a fairly high one used for the ball scenes. I think everyone will agree we're likely seeing Aziraphale's POV for the ball scenes. Everything is heavily golden, sparkling, hazy, and Crowley's sideburns are long. Not even to mention that the ball is simply his dream come to life anyway.

the street outside is green and foggy, and using the BPM filter still.

When Crowley gets in the elevator to heaven his sideburns remain long.

Welp. Thats episode 5, all we've left to do is episode 6 and I then I will be writing a conclusion piece to these! See you there!

NEXT POV The End?

[rel312]

I HAD NO IDEA SEASON 2 CAME OUT ALREADY SO NOW IM GOING TO SCREAM ABOUT IT

Episode 1:

CROWLEY WANTED TO TAKE AZIRAPHALE BACK TO THE PLACE THEY FIRST MET

CROWLEY PROTECTED AZIRAPHALE FIRST IM SCREAMING

(My brother actually came into my room to tell me to shut up)

Of course Aziraphale would just forgive 8 months rent

Lmao Gabriel’s just walking down the street ass naked

Gabriel just hugged Aziraphale I can’t

“James. Long for Jim, short for Gabriel”

Crowley knows Aziraphale so well, but poor guy he only calls him for 3 reasons

Poor Crowley is trying so hard not to freak out about the “naked man friend”

The conversation between Crowley and Jim I can’t

Maggie and Nina are trapped together!!

Michael and Uriel are fighting let’s gooo

Crowley just casually let the girls out lmao

THERES AN I WAS WRONG DANCE OH MY GOD

THEYRE PERFORMING A MIRACLE TOGETHER

Aaaaaand of course it goes immediately wrong

Episode 2:

Gabriel’s wig is atrocious

IS AZIRAPHALE GOING TO BE THE SUPREME ARCHANGEL NOW

A jukebox that turns every song into Everyday like the Bentley with Queen, hmmm….

Crowley looks like a doting partner bringing his husband a drink

“Get humans wet and staring into each other’s eyes, vavoom, sorted” sir… are you telling me that’s what did it for you???

Crowley’s so confounded that Jane Austen wrote books

THE VOICE OF GOD???

HE TURNED ALL THE GOATS INTO BIRDS

Crowley scaring the kids cause they were brats but not actually killing them aww

The little girl asking to be a blue lizard with her siblings she’s so cute

CROWLEY TAUGHT AZIRAPHALE TO EAT

I cannot believe Aziraphale was the first to talk about sides I love them

Crowley and Aziraphale working together for the first time to save the kids

Aziraphale looks so shaken to have lied poor baby

Crowley babe he’s begging for you to drive him

“Our car” you can’t take it that far lol

Poor Aziraphale really thought he was gonna fall he was about to cry

Crowley was so soft in that last scene

Episode 3:

Jim’s stuff is all labeled

Aziraphale looks like a proud father to Muriel

Crowley’s moving the plants to use the car

They both look like parents I love them

Crowley brought Aziraphale to a cemetery because he thought it would amuse him, that is date behavior

Crowley is about to kill Aziraphale for changing his car

NESSIE?!?!

“Operation: Lovebirds” Crowley is such a dork

Aziraphale just is not getting anything lol

Crowley… shrunk himself??? And then grew himself????

Crowley tempted her to be good I love him

I love the very closed sign

Demons can’t enter somewhere uninvited???

He’s so angry Aziraphale might be hurt

Episode 4:

BEEBOP

“His type”????

“I remember hearing that you and Crowley were an item” HOLY SHIT

HE CALLED CROWLEY HIS GOOD FRIEND AFTER THE CHURCH!!!

“This office has gone 13 5 0 days without anyone saying ‘THE ROAD TO HELL IS PAVED’”

Glad to see Aziraphale in his magic era

Crowley’s impression is hilarious

“Someone you can really trust” and his first thought is Crowley 🥹

Aziraphale has a gun and Crowley has never shot one

Crowley was shaking he was so scared and Aziraphale was so proud of his trick

Furfur not knowing how to pronounce Aziraphale lmao

Sleight of hand!

Look at them finding a middle ground in shades of grey!

Lmao Crowley would murder him if he knew Aziraphale didn’t put the brakes

Episode 5:

They’re talking about Doctor Who

Aziraphale’s giving books and Crowley’s playing with crystal balls, I love them

Aziraphale being bad at French is so funny to me

Nina grilling Crowley on his relationship with Aziraphale is everything

Crowley was confronted with his feelings and immediately went out to get a drink with Aziraphale

Crowley’s so mad go off king

The matchbox!

Aww look at Crowley denying he’s nice

The romantic music while Crowley looks at Aziraphale with the chandelier

Oh. My. GOD. Jim’s suit!

Lol that’s not what I was expecting when they said masks will be provided

AZIRAPHALE WANTS TO DANCE WITH CROWLEY

THEYRE DANCING!!!!!!

“Surrender the angle”

Gabriel’s coat!!

“T. O. S. T. E.”

“You’re a good lad” “not actually, either”

“Rescuing me makes him so happy” you can’t just say things like that and expect me to be normal about it

Episode 6:

Crowley’s just bouncing around in heaven

“I’m done with being scared” *flips them the bird*

Oh sweetie, you meant well but no

“Crowley’s emotional support angel” yes, yes that’s exactly what he is

Crowley’s little supportive punch to Muriel was so cute

AZIRAPHALES HALO?!?!

THE FLY

Gabriel x Beelzebub confirmed??

The fact that Gabriel and Beelzebub were able to sort this out in a few years while it’s taken Crowley and Aziraphale 6000 is insane

And the fact that Aziraphale grabbed Crowley’s arm when he realized that

Crowley’s so impressed with Aziraphale bringing everyone to order

Aziraphale’s face at Crowley talking about Alpha Centauri

Aziraphale looking at Crowley with so much love in his eyes is giving me life

THE METATRON?!?!

Aziraphale looking to Crowley for permission I can’t

Crowley knowing Aziraphale will come back and saying they need “a little us time” at the Ritz

Crowley getting antsy that Aziraphale’s not back yet

Nina taking inspiration from Crowley and calling Maggie angel my beloved

Crowley looks devastated that Aziraphale interrupted him

Aziraphale looks so incredibly happy at getting Crowley to be an angel again but there’s no way Crowley wants that

Crowley’s getting so emotional

“Just be an us” stooooopppppp

“I need you” I can’t take this!

Nightingales

THEY KISSED!!!!!!!!!

Aziraphale touched his lips after I’m dying

Aziraphale stop being so stupid and get him back

The- the second coming??

YOU CANNOT END IT HERE

SCREAMING CRYING THROWING UP

Please tell me there will be a season 3 I can’t handle this

[jackiestarsister]

Thoughts while rereading Jane Eyre

I first read Jane Eyre in its entirety when I was in high school, and it has remained one of my all-time favorite books! After reading the Manga Classics adaptation and seeing both the old and new editions of the stage musical, I finally reread it, or rather listened to the audiobook.

These were my thoughts on this reading (with spoilers):

~ Jane’s autobiography begins with the line, “There was no possibility of taking a walk that day.” I take this to mean that if she had taken a walk that day, none of the following events would have happened! John Reed would not have attacked her at that time and place, leading to her traumatic punishment, her meeting with Mr. Lloyd, and going to Lowood Institution.

~ Charlotte Bronte vividly shows the intensity of children’s emotions. I don’t think that was common in British literature at the time!

~ Jane enters and leaves the lives of the Reeds, the Thornfield residents, and the Rivers siblings in very Gothic fashions! I can imagine parts of the story being told from other characters’ perspectives to great dramatic effect.

~ Knowing the whole story, there are many seeds of foreshadowing to be found throughout the story! Great setup and payoff.

~ Jane says about Helen’s grave, “for fifteen years after her death it was only covered by a grassy mound; but now a grey marble tablet marks the spot.” Jane must have gone back to Lowood when she was about 25, and paid for a fitting monument for her first and life-changing friend!

~ Pilot seems almost like a Disney hero’s sidekick, urging the two love interests to meet each other!

~ Mr. Rochester seems to judge Jane’s character partly by observing how she treats Pilot and Adele, and the contrast against Blanche Ingram’s treatment of them!

~ If Eliza and Georgiana are supposed to represent the extremes of unfeelingness and too effusive feelings, are they basically Eleanor and Marianne Dashwood? I know Charlotte Bronte disliked Pride and Prejudice; maybe she was pushing back against Austen’s other characters too?

~ Rochester actually calls Jane the “adopted daughter” of Mrs. Fairfax and “little English mother” of Adele! I wish this familial dynamic had been brought out more.

~ The impulsive way Jane flees from Thornfield reminds me that she is still a teenager! She does not think of the fact that she has an uncle who wants to give her an inheritance, or of the solicitor’s advice to stay put until she hears news of him. She does not seek help from Mrs. Fairfax or the Leavens family to find a new situation. She might have spared herself a lot of suffering if she had formed a better plan for finding a new home and had her mail forwarded there!

~ St. John, Diana, and Mary Rivers are like a reversed reflection of John, Eliza, and Georgiana Reed—both sets of cousins, but completely opposite dynamics with Jane.

~ Jane’s relationship with St. John Rivers is waaaay more toxic than her relationship with Edward Rochester. Jane can stand her ground with Rochester, who would never force her to do anything she decidedly did not want; but she feels compelled to do whatever St. John tells her, and he urges her to do things against her own desires.

~ Rochester literally loses his eye and hand, just like Jesus says about temptation in Matthew 18:8-9!

~ Jane and Rochester’s relationship is bookended by scenes of her supporting him as he walks!

~ Were the parson and clerk who officiated Jane and Rochester’s marriage the same ones who were at the interrupted wedding?! Unless there was a change in position during the year of separation, they probably were the same ones!

~ My headcanon is that all the Thornfield servants placed bets on how long it would take Jane and Rochester to work things out. This is supported by the innkeeper’s account of how the servants observed Jane and Rochester, and John and Mary’s reactions after they finally get married!

[gothicfairytopia]

How act two of The Sound of Music might foreshadow Good Omens season three ~

I was reading this post about Aziraphale’s ball idea coming from The Sound of Music rather than Jane Austen, and remembered that I’d meant to make a post about parallels between Aziraphale and Maria. The romantic plot of Good Omens has a lot in common with the plot of The Sound of Music, and season two just so happens to leave off at the very end of act one. So, is there a chance that act two could provide some clues about season three? I find the idea very compelling, so here’s my analysis of the movie and how I think it compares to what we’ve seen so far, as well as what we can hope to see in season three.

In the beginning we have Maria at the abbey, where it is made clear that she does not fit in because she has a hard time abiding by the rules. She also has a tendency to prioritize the natural/material world over her spiritual duties, which is represented by the opening song (“The Sound of Music”), the singing of which literally makes her late to return to the abbey. This has obvious parallels to Aziraphale’s difficulties conforming to Heaven’s way of life, as well as his worldly attachments.

(A fun bonus parallel is in the song “Maria,” when the nuns say “she’s always late for everything / except for every meal.” Aziraphale-coded fr.)

Maria leaves the abbey to be the governess to the von Trapp family, and this is where she begins to really learn about herself as an adult outside of a tightly controlled religious environment. She still doesn’t conform to the new world she lives in, but begins learning how to retain her selfhood without feeling ashamed of doing so. This period is obviously a parallel for Aziraphale’s time on Earth—although the time frames are quite different, the same general lessons are learned.

At the end of act one, as addressed in the linked post, there is a ball where the Captain and Maria dance, and this is the moment where Maria discovers her feelings for the Captain. Although this scene is an obvious parallel for the Jane Austen ball scene, I think it’s honestly more similar to the kiss in the final 15. Maria, mid-dance, stares into the Captain’s eyes, freezes, and backs away, saying she can’t remember the dance anymore. The Baroness is watching from the doorway, and when Maria runs upstairs to get changed for dinner, the Baroness follows her.

Up in Maria’s bedroom, the Baroness confronts Maria about her feelings for the Captain, which Maria denies initially. The Baroness convinces her of her own feelings and of the Captain’s, and essentially encourages her to run away—I’ll get into why in a second. Without a word to anyone, Maria returns to the abbey. This is a super obvious parallel to the end of season two, with the Baroness acting almost in the role of the Metatron by pulling Maria aside and reminding her of her “duty.”

Now into the more speculative side of things, trying to think of how The Sound of Music might offer hints as to what’s coming in season three.

When Maria returns to the abbey, she remains in constant silent prayer for the first several days before being called upon by the Abbess. Maria confesses that she ran away because she was frightened, and admits that she had accidentally developed an attraction for the Captain. She gives her reason for not telling the Captain about her feelings and choosing to return the abbey: “I was there on God’s errand. Oh, I couldn’t stay, I just couldn’t. I’m ready at this moment to take my vows.” This sense of misplaced duty might not be all of it, but again, we’ll get to that in a second.

The Abbess responds with probably more kindness than we’d expect from anyone in Heaven: she says that romantic love can be holy, that Maria needs to discover how God intended her to spend her love, and assures her that “if you love this man, it doesn’t mean you love God less.” With this, she commands Maria to return.

While this may seem incongruous with Heaven’s general business model and something unlikely to be paralleled in season three, I think it’s important to think back to the conversation at the end of season one immediately following the failed apocalypse, when Crowley asks, “Angel, what if the Almighty planned it like this, all along? From the very beginning?” People joke about God trying to set them up from the beginning of time, but I don’t know that it necessarily has to be a joke. The question of God’s ineffable plan is a constant throughout the series—the whole point is that it’s impossible to say what exactly God intends.

This is the exact same conflict Maria faces in the scene with the Abbess. When she objects to returning, she says, “But I pledged my life to God, I — I’ve pledged my life to his service.” The Abbess rejects the idea that this is the only possible plan that could have been intended for Maria, saying, “You have to live the life you were born to live.” Perhaps there will be something similar in season three, some way in which God communicates the same thing to Aziraphale—that loving Crowley doesn’t mean loving Her any less, that their love is holy, and that the life he is meant to live is not one pent up behind heavenly walls, but rather out in the world with Crowley.

After Maria returns, she’s reunited with the children, the Captain and the Baroness break off their engagement, lots of little plot things. What I’m interested in is the song “Something Good” (which I would just like to emphasize is sung in a gazebo... anyway). The song introduces an additional reason for Maria’s departure—namely, that she did not feel worthy of the Captain’s love, a sentiment that he returns. They both come to the conclusion, though, that they must have done “something good” to deserve having found each other. Here are some lyrics:

For here you are, standing there, loving me

Whether or not you should

So somewhere in my youth or childhood

I must have done something good.

The basic theme of the song is self forgiveness, and the acknowledgement that past imperfections do not make a person unworthy of being loved. Rather, both characters here have felt themselves to be inadequate, but view the other’s love as a sign that they must, in some way, be good.

I love the idea that Crowley and Aziraphale might have a moment like this, because I think it would be massive in terms of their own self acceptance. For Crowley, Aziraphale’s love (and possibly God’s endorsement?) is proof that his fall did not make him irredeemable, that he remains a being who can love and be loved in return. For Aziraphale, Crowley’s love is an affirmation that he can honestly be forgiven for his transgressions, rather than marked forever by them (like removing the stain from his coat, allowing it to be forgotten).

Unfortunately, the movie does not end with their marriage—they still have to escape Austria after the Captain is called to serve by the Nazis. I think we can assume the Nazis parallel Hell, and say that perhaps Aziraphale and Crowley really will have to establish “their own side.” Maria has to break free of the abbey, and the Captain has to break free of the Nazis. They do this by running away, and I’m not sure Aziraphale and Crowley would ever flee Earth in the wake of the Second Coming, but I will say that it does immediately evoke the idea of the pair running away to Alpha Centauri. I do think that given the “they are bad at their jobs and did very little to seriously prevent Armageddon” joke from season one, it would be a little funny if humanity managed to save itself during a momentary retreat from Aziraphale and Crowley.

I don’t mean to imply that the blueprint of season three is found in act two of The Sound of Music, but I do think that the movie being canonically a favorite of Heaven’s, the recurring theme of the ineffability of God’s plan, and the sheer number of parallels within the plot so far make it a fair place to look for clues. Who’s to say that God’s plan wasn’t hidden in plain sight?

[copiouscouples]

Bridgerton - A Dissertation

Chemistry is subjective and that's why I love Bridgerton. If one couple isn't your bag, then there are others to choose from.

Personally, I've enjoyed all the seasons. I just love to see love unfold.

Season 1 was such a new animal. It was the novelty of it all. Nothing had been done like this before. You either had the adulterous, explicit, and/or violent sex scenes of Outlander or Game of Thrones or you had chaste Austen (which j'adore but still). There is no other show (even though there have been attempts) that combines the sweet romantic side of love with sexy times. And on top of that you have the costumes and the humor and the diversity.

Simon and Daphne's love story for me was so beautiful watching it simply because it was like they'd turned the historical romances I love reading so much into a tv show.

Season 2 I was so pumped for. The first 4 episodes were delicious. The looks, the stares, the verbal sparring, the passionate declarations, and almost kisses. Be still my heart. The wedding episode was a giant buzzkill. It ground all that momentum to a halt. Edwina deciding not to marry Anthony should've been a 5 minute scene max. That episode took up time when we could've seen them make progress on their relationship. After that, the plot did bounce back. Then, we got their love scene in the garden. I think the most apt description I've seen of that is that it was like a hot music video. It was fine and all, but I was wanting more. It wasn't rewatchable like the Simon and Daphne scenes.

Then Queen Charlotte came along and wowzers did I love that show on so many levels. It was gorgeously done, funny, sweet, heartbreaking, and sexy. George and Charlotte were a good couple but knowing their ending wasn't so happy definitely put an asterisk next to it.

Season 3 came along and at first I was a little indifferent about it for multiple reasons.

1) I hadn't been fully sold on Luke and Nicola's chemistry. It seemed too friend-like (which I know is the point but still). On top of that, there's their real life age gap. Luke N. is super attractive but I was envisioning someone older and more mature (because I know the books have Pen and Colin as older).

2) Friends to lovers isn't a favorite trope of mine.

3) I really wanted Eloise or Benedict's season to be next.

But oh my word, guys, I am really digging this season. Probably more so than even Queen Charlotte.

Things I Love:

Colin being the pursuer and driver of the relationship instead of Daphne in season 1 or Daphne/Edwina/circumstances in season 2. It's delicious to see Colin chasing Penelope. And yeah, she did ask him to kiss her but home skillet didn't ask him to show up at her house for a late night rendezvous. That was all him.

A less angry/bitter male lead. Colin likely has daddy issues too, but he is just more emotionally in-tune (when he allows himself to be) and doesn't take it out on others. He's sweet and lovable and a perfect cinnamon roll when he's not posing.

The Sexy times are back! That carriage scene was 10/10 - no notes. And it was sexy because of the feelings component. And we're getting more! I'm gonna pass out!

Even though I wish they'd hurry a bit and get them back to being friends, I do enjoy seeing the Eloise and Penelope friendship aftermath. I love seeing how much they care about each other despite being angry/hurt by one another.

That height difference, tho!

I feel like we can all take enjoyment from different couples and different seasons. We're all different and different tropes resonate with us. There is something to be enjoyed by all with Bridgerton.

[dusty-daydreams]

Hi! Fic Anon here.

After seeing so many opinions on Eloise I just want her to hide behind me while I defend and protect her 😭. Like they accuse her of being a pick me or "not a girl's girl" or having the "not like other girls".

And these are all Penelope's fans. Seeing that make me dislike her even more. I like Penelope but as an anti hero or villain, she could have been so interesting.

Eloise has valid reasons for not wanting to get married and even if she doesn't understand why other girls would want to get married but she still respects it (as far as I remember).

It has been a while since I have watched s 1 and 2 (and I haven't even gotten started on 3 due to prior commitments lol) but many people accuse her of being a bad friend to Penelope, was she really a bad friend as many accuse her to be?

Have a nice day!

Hi Fic Anon!!!!!!

I don’t think she was that bad of a friend - I think she was a teenage girl who tend to be a bit self-absorbed. Besides if we are going to accuse Eloise of being a bad friend we have to do the same to Penelope, and that’s without evening taking her nasty alter ego into account because they are both equally self-absorbed in season 1 & 2. Eloise just talks at Penelope while Penelope doesn’t share anything with Eloise, their self-absorption presents differently so it’s easier for people to attack Eloise for being a bad friend. But as I said in my On Eloise’s Obsession with Whistledown post, the secrets Penelope kept from Eloise makes her a bad friend as well.

Like Eloise might talk primarily about herself and not ask after Penelope enough but Penelope has been known to abandon Eloise at events to spend time with other friends (e.g. the art gallery scene in season 1 that I made a bit more dramatic in my fic).

Eloise totally had extremely valid reasons for not wanting to marry, and the historical reality is that a lot of women of various means didn’t get married. Jane Austen didn’t marry, and she was impoverished gentry.

It is just that Eloise’s greatest crime is that she is a character that is anti-marriage in a romance show. A good chunk of the fans that are here for the fluffy fun are going to have their backs put up by a character who disdains the fluff they love so much.

But Eloise is not a pick me. Categorically. She is not interested in performing the hyperfeminity her society expects but she is absolutely not a pick me.

A pick me is a girl that pretend to like the things boys traditionally likes and disdains the tongs women traditionally like because she thinks that she will be more successful finding a boy to date that way.

Eloise is categorically uninterested in attracting a man. She is not interested in the limited feminine pursuits on offer, but unlike a modern woman who has a whole range of things she can do, Eloise’s movements and choices are hyper-restricted.

It is not being a pick me or not like other girls to be uninterested in music, drawing and decorative embroidery, the three main pursuits it was acceptable for a woman to have.

Further if you watch the show you will see that Eloise isn’t actually rude to other women. She is rude to Daphne, who is her sister so that’s a completely different relationship, and she is rude to Cressida because Cressida (as much as I love her now) is a bitch. But she isn’t rude to women.

She is loving and admiring of Penelope and her opinions, and she doesn’t really socialise with other women in season 1 and 2.

In season 3 part 1 she is actively trying to make friends, and while she isn’t interested in other women’s pursuits, she makes a witty comment, that all the other women find funny. And she treats Cressida like the grown intelligent woman she is, and is probably the first person to ever do so. Even the sister relationship we see this season is loving and respectful, Eloise wouldn’t make the choices Francesca is making but she respects the wisdom of her sister doing so and actively helps her to try and have the quiet functional season she dreams of.

No Eloise is rude to men. A man makes a sexist comment she leaves him on the dance floor. Theo assumes she is vapid, she insults his intelligence. A man makes a dumb comment about collecting books, she rolls her eyes and makes a passive aggressive remark.

How can she be a pick me pretending to disdain embroidery for a man’s interest, when she a) is genuinely uninterested in embroidery, b) tries to be polite when women discuss it and c) ISNT INTERESTED IN ATTRACTING A MAN!!!

Its just tiring Fic Anon, because all of these characters could be soooo rich, Eloise and Penelope and Cressida and Benedict and Colin - all of them, if the show and the fans treated them with respect and sincerity

But the show isn’t actually interested in making a good interesting show, they are interested in keeping people watching through simple but dramatic stories

Anyway, thank you for this message Fic Anon! I love when you message because I get to think about these things in detail