#CHARACTER GROWTH FOR EVERYONE

[charlieswebb]

for a show about vampires there sure aren’t a lot of stakes

[hinamie]

I could've been a better man, but I'm not

more lmhs megu bc i love him. he is here fr ur lunch money :>

jjk atla!au with @philosophiums

[callmelinamfsnow]

“I’m family”

“So. is. he”

[heartorbit]

something something sewing event

[kasieli]

sometimes I get stressed then I remember they made Damian/Raven canon in the DCAMU and then suddenly everything is fine

[cosmicredcadet]

Thinking abt how so many characters in media who canonically state that they don't like people touching them constantly have their boundaries broken and are forced into hugs by other characters and every single time they are shown to be upset it's supposed to be a flaw that they need to overcome until they just are forced to accept/like it.

[bluetiefling]

"Her time with Halbrand was a time where she was very much herself in some ways because she was an Elf alone. She wasn't following the rules of her people at that point. So, he knows a part of her that other people, other beings, don't, and there's a tragedy to losing that, and through losing him, she's also lost that part of herself. " --Morfydd Clark

I thought we were done with LA press day bounties and the latest drop brought the most devastating line yet. 😭 I could go on and on about this aspect of Galadriel's characterization and in particular what being around Halbrand/Sauron brings out of her compared to how she acts when she's back in the 'nest' as it were. I don't know if it's intentional or not but something about the way they've written Galadriel reintegrating back into her community just felt subtly stifling and like that'd be one thing if the writers were self-aware about it but I got the impression it's meant to be this 100% good/wholesome thing about maturation and growth. I think this is the first time someone from the show has spoken of it differently, because there is a Loss there too. A pretty profound one.

Yes she had reasons to feel guilty and that would mean a humbled Galadriel in season 2, but I couldn't help but also notice the way she holds herself, bites her tongue, struggles to contain her anger and pain, are all pretty similar to how she acted around the elves in season 1 before she was exiled. And we subsequently saw her really sparking and expressing everything she felt after jumping off that ship, meeting Halbrand, causing a ruckus on Numenor, etc etc. (With Habrand especially, I think the way I described it once when watching s1, the reason the dynamic really grabbed me and what I saw as Galadriel coming alive, is that he spoke to her like she was just a woman, the real flesh and blood person in between the black sheep of the elves or the untouchable Lady of Light. It's no wonder he got her to bare her soul in that forge.) I reject the idea that all of that was just this flawed part of her she needs to erase from her character to become the true Galadriel. Character growth should temper her more impulsive and reckless traits but not figuratively lobotomize her.

[dollypopup]

I think it's interesting to look at the 'Mr. Bridgerton' scene as a backdrop for the eventual mirror scene. Firstly, in the fact that I think we've kind of misinterpreted it.

So many people are of the mind that scene's purpose to 'drag' Colin, but really, that scene has 3 primary functions. The first is to inform Colin that Penelope is aware of what he said of her, thus opening the door to clearing the air between them and providing an avenue for which Colin can apologize. The second is to establish the ground that they are currently on: Penelope has given up on the dream of Colin Bridgerton, in particular the perfect prince that can do no wrong, and has made it clear to him. It also creates distance between them that they will bridge.

But the third, and to me the most wrapped up in the mirror and the inner workings of their relationship is that it reveals how Penelope feels about *herself*. It's not necessarily an echo of what the ton considers her as, after all, we have a lot of evidence indicating that, for all intents and purpose, people aren't *unkind* about her, but rather that they ignore her. Audience members recognize this as Penelope's own shyness being the cause, she is often sitting off on the sidelines or not really talking to much of anyone, in the books she's referred to as the 'one who doesn't speak', and her LW business takes her away from being a character in the action of the ton to a bystander, kind of a self-fulfilling prophecy of sorts that perpetuates itself. Pen felt unseen so she became LW to have some power, but then LW herself must remain unseen and Penelope continues to be by design of her own making.

No, I think what it really reveals is that Penelope has incredibly low personal self esteem. We as a fandom has lauded that scene as her dragging Colin, saying that he's cruel and calling him Mr. Bridgerton is absolutely meant to create distance between them, but I don't think she's dragging him.

Because the person she is *actually* dragging here. . .is herself. And it is a general theme in her life. In Whistledown. Aloud. Even with Marina, when she complimented her, she assumes that she's lying. When Edwina says she's wearing a pretty dress, Penelope puts herself down and doesn't believe her, even when the compliment is genuine. In truth, Portia is not seen as being particularly unkind to Penelope. At least, speaking as someone who's mum was *awful* about my size and weight and outfits, Portia is. . .overall rather mild. She's not KIND and loving, not by a long shot, but she's also not targeting Penelope only. She's plenty mean and critical to Prudence, too, even to the point where she foists her off to her own cousin as a pawn piece. Penelope has low self esteem because of a lot of reasons, she's bullied by Cressida (I think a lot of girls are, she was pretty mean even to Daphne in S1) and her family isn't very tender to her, and she's not being pursued at every turn, but part of it is also her own perpetuation.

Listen to what she says "Of course you would never court me" "I embarrass you" "I am the laughingstock of the the ton". She sees *herself* as an embarrassment. She puts *herself* down. Arguably, more so than the ton does. She's meaner to herself than anyone else is, aside from Cressida. And honestly? Looking at Colin's face there. . .he is HURT that she considers herself this way. That she's projecting that onto him. Yes, he's hurt that he hurt her, of course he is, he never wants to hurt her. And yes, he's ashamed that he said he wouldn't court her the way he did and that in doing so, he validated her fears that she is unloved and unwanted, but also because. . .she already feels that way about herself. She's felt that way for years. And it's painful to care about someone, to see them as wonderful, and realize. . .they don't feel the same about themselves at all. I don't think Colin is out here feeling so wounded over the fact that she called him cruel and won't refer to him by first name anymore, but that he's most hurt by what she says about herself.

Because he *doesn't* see her the way she accuses. She says she never expected him of all people to be so cruel, but he feels the same way. He never expected her to be so cruel to *herself*. He wants to go somewhere private, not because she is an embarrassment, but because he wants to have a private conversation with her. Maybe assure her. Maybe explain himself. Maybe hash it out. But god Luke Newton's acting. . .he is *aching* for her. And it feels like he's going to do those lessons not in atonement for what he said (thank god) but to genuinely help his friend who thinks badly of herself. To lift her up. It's not about him at all, not about earning forgiveness, but about elevating Penelope. And that's. . .fuck, I just find that's just so heart stoppingly beautiful.

You can see, in that scene, how much he cares about her. How deeply and genuinely he adores her as a person. And just how painful it is for him to know he has validated, whether on purpose or otherwise, how poorly she feels about herself. How low her self-confidence really is. She is giving him a glimpse into the cracks of her heart, and when he sees them, he wants to reach out with both hands and make it feel better. Make her feel better.

After she says 'even when I change my entire wardrobe', he looks so fucking crushed. So 'don't say that'. So 'you really believe that?'. So 'God, I hate that you think that way'.

Because regardless of it all, he does love her. It's not romantic yet. It's not sexual yet. But he genuinely, truly, from the bottom of his heart, thinks she's wonderful. That was evident even in the 'purpose' scene. Every time Penelope opens up and reveals a facet of herself, he likes it. He likes her barbs and her dreams, he likes talking to her. He likes her. And he feels awful that he hurt her. And he feels awful that she's hurting herself. He loves her. He wants her to love herself.

And that's where the mirror scene comes in. Because the mirror scene isn't about sex, not really. Not entirely, at least. The mirror scene is about *intimacy*. The mirror scene is about being seen. Not just her seeing him, or him seeing her, but for Penelope to see *herself*. In a way, through his eyes. Because hers are biased rather negatively toward herself, which is evidenced in the 'Goodnight Mr. Bridgerton' scene, and in so many little moments we've already gotten where she's literally looking down on herself, feeling down. She doesn't necessarily *like* what's in the mirror, but he does. Because he likes *her*. And he wants to show her that he does. Show her that he finds her beautiful and have her recognize that in herself.

The 'Goodnight Mr. Bridgerton' scene is about Penelope revealing how she sees herself. The mirror scene is about Colin showing her how *he* sees her. The Goodnight scene is about Penelope thinking she means nothing to him, that he thinks of her the way she thinks of herself, that this is how everyone thinks of her, and the mirror scene is a direct response to that: No, he doesn't. No, he doesn't think she's embarrassing. No, he doesn't think she's a laughingstock. No, he doesn't think she's unappealing. And he doesn't think she should, either.

And he's going to show her that. Not just tell her, but show her. The mirror scene is so often a focus on Penelope, so much of Polin is in Penelope's focus, but approaching it from Colin's perspective and his motivations is so fulfilling, too. It's a glimpse into them in conversation, and a demonstrate of how Colin loves her. How Colin loves in general, openly and earnestly and altruistically. How he encourages her to be braver and more confident in herself, bolstering her because he just likes her *that much*. How he finds the most fulfillment and satisfaction in caring aloud. The mirror scene is a demonstration of his heart in reflection.

When Luke Newton said the first word that came to mind with the word 'Mirror' was 'Exposed', he doesn't just mean physically. He means emotionally, too.

God this couple is so fucking good.

[utilitycaster]

Eursulon also occupying a role I love namely "guy who is doing pretty fucking awesome while everyone else is going through it." His two best friends are having the most intense, nervewracking conversation about how if he's dead it will tear them both apart, Ame is generally on tenterhooks about the coven meeting, Suvi is understandably livid and also an unwitting sleeper agent about to engage in all kinds of shenanigans and he's like "I saw my SISTER, I have FAMILY here, I know how I can get HOME eventually and the goddess of nature just gave me a REALLY COOL HORSE, what is UP."

[royalarchivist]

Fit: Alright Ramon, I'm gonna tell you a bedtime story about nighttime.

Fit: Now, nighttime of course is when monsters come out, and they try and scare little eggs just like you. But, the thing about nighttime is that as long as you have a source of light, you will be safe. That's right. And Ramon, do you want to know what my source of light is on this island? It's you, my boy. You are my light on this island. Without you, I would be covered in darkness.

Fit: So, I'm just- I'm just so glad to have you as my boy. That's right.

Ramon: [Nods and holds up his totem]

Fit: Oh, Ramon... Yeah, that's right – you got that totem right there! You're going to be nice and safe with that as well! That's right. But I'm just uh– I'm glad you woke up today, Ramon. I was getting worried about you for a second, but no, you're a tough kid. So, I'm just glad you woke up.

[wildstar25]

MiqoMarch Day 01 - Introduction

Arsay is not one to boast, but still she would speak of her roles and titles with pride. She saw them as proof of her worth in the world. After a break from facing apocalyptic scenarios, Arsay has begun to learn that she should strive to view herself beyond her accolades.

[poorly-drawn-mdzs]

Bestie Deficiency

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[funnywormz]

"this character is gnc-"

yay!!

"-because they're insecure/"don't know about fashion"/aren't socialised "properly" yet/someone has forced them to be that way, and actually they're just a cis masculine man or feminine woman deep down and their entire character arc will consist of them getting a makeover to make them more gender conforming and reveal their "true self"!"

BOOOOOOOOO FUCK OFF

[koriand3r]

Willow | Spike - Clothing

“Why are you still in costume?” “Okay, still having to explain wherein this is just my outfit.”

[milquetoad]

of the many injustices put forth toward the show by fans i think the most overall damaging and telling of a complete lack of critical viewership is the idea that sam riegel builds his characters with nothing more than the bit in mind. like you are only telling on yourself if you think characters like scanlan shorthalt and veth brennato are one-dimensional and depthless

[oobbbear]

I see a pattern in my fav characters

Secondary character important but often overshadowed by their main cast friends, definitely not the writer’s favorite child with half a backstory flashed out enough to make them interesting but vague enough i can take my own spin on it without feeling out of place

Bonus point if they constantly switch between sweet and unhinged