#FARC-EP

[kropotkindersurprise]

Short video giving some background on Colombia's FARC-EP guerrillas. [link]

[fuckyeahmarxismleninism]

September 30, 1948: Birthday of Commander Raúl Reyes, a leader of the Revolutionary Armed Forces of Colombia - People's Army.

"Luis Edgar Devia Silva (9/30/1948-3/1/2008), aka Commander Raúl Reyes, with his simplicity, his revolutionary integrity, his internationalist vision, his fraternal spirit and his enthusiasm, continues to show us the way. Happy birthday Comrade!"

Via FARC-EP (Second Marquetalia)

[kolomo]

@animangacreators challenge 22: summer 2023 ⋆ ↳ undead girl murder farce

[shinehalley]

My new favorite thing that mixes classic characters is over, I'm devastated

[kerorowhump]

saw this in the previews and thought "his hubris is immense" which is hilarious to me

[fauchart]

S?? E?? - 'When Snakey Met Annie...'

An early season Bob-centric episode in which Ann finds Snake again after he's robbed her diner and, charmed and stupid, she tries to get him to date her - he's entirely uninterested until she mentions living across the penitentiary. The wheels start to turn and all of a sudden, he welcomes the idea... Meanwhile, Bob had been reading self-improvement books (anger management, how to let go of grudges, revenge isn't the answer etc) and was on his very best behaviour, planning on waiting out his sentence and come back to society a changed man, ready for a fresh start... But when the opportunity to escape is presented as readily as it is here, he shrugs off all of his good decisions, throws his book above his shoulder and switches back to crazed maniac in an instant - and back to hunting Bart he goes! Though the focus of the episode will be Bob and Bart, several times throughout the episode there will be appearances of Snake trying to drop the charade with Ann now that he got what he wanted - but each time he'll have to keep up the farce for one reason or another;

(Listen, Snake growing a conscience and suddenly refusing to violate carpool lane rules for a one-off joke is hilarious to me. Don't look at me like that)

While their B-Plot is going on and intermittently shows them fleeing the law by car in gradually stupider situations - Bob has managed to corner Bart against the big window pane of the Mall. As he lifts his knife, about to strike... Snake's car suddenly crashes through that window and flies out of the mall above Bart, before ramming straight into Bob and splattering him on the pavement. The end of a sequence parodying the Mall Car Chase scene from the Blues Brothers.

"Dude, that was not a shortcut." Cut to both Bob and Snake getting handcuffed. Snake looks a little more sincere when he says "I'll call you!" to Ann-Doreen as the cops make him sit in the car. Mirroring that, Bob says "I'll get you!" to Bart as the ambulance takes him away. Roll credits.

WELL THAT WAS A LONG ONE. LOL. I worked hard on this one, so for once I'll say; please reblog and give me your thoughts! I hope you liked it!!

BONUS INFOS:

This would be the second episode with Ann-Doreen (outside of like, crowd shots and other non-speaking appearances in the background) and the one to properly set up the relationship she has with Snake. Lots of fun for that poor bugger!

I've made all the panels rectangular because I wanted to try and work in a format that's similar to actually watching the show - it's not 16:9 (nor square like it should technically be for early seasons) but I think we get the feeling anyway :]

That one other guy in the prison is just this random unnamed prisoner from 12x10 'Pokey Mom'. His first appearance would thus be in that ep I made, since it predates season 12!

Also here's me knowing in advance I'm putting way too much effort into this post:

[randomidiocyncrazies]

i think one of the best things about Saionji and Nanami is that they're just. such losers. and the narrative never lets you forget it.

oh sure, Nanami is rich and Saionji is technically popular in-universe; but they're also the comic relief and eat shit every time they show up. They're ALSO some of the most perceptive characters in the cast, with both of them trying to leave the duel game at some point and recognizing on some level that it's bad for them. BUT they also spent most of the show thinking they can win at this bullshit farce system for sure and proceed to get outplayed every step of the way, though I'd argue this is much more a Saionji problem than a Nanami problem—once she's been made aware of what's going on, Nanami is the most resolute in leaving not just the dueling game, but Ohtori itself. (Saionji, on the other hand, only tried to leave the dueling game because he felt he was tricked; he didn't have the conviction or resolution to risk giving up his privileges and leave his comfort zone.) The most perceptive but also the most willfully blind characters.

Like. It's so funny to me that Saionji smugly tells Utena the castle is just a mirage when he tries to assert his superiority over her in ep 1, and then proceeds to treat the castle as totally real and have a whole breakdown about it a few eps later—it's fake (which it is) when he can use it to belittle Utena, but it's real (which it is not) when it's about what he wants to attain. What a goddamn idiot; what an absolute clown.

And Nanami. keeps trying to bully the protagonists but the tables always turn on her in the most slapstick way possible. tries to put Anthy and Utena into humiliating situations, and gets put into the most bizarre circumstances/episodes herself. Girl who tries to make fools of others has the story present her as a fool.

(and that's why they're my faves)

[fellthemarvelous]

Staged and Good Omens: The discontinuity of a story within a story within a story.

I'm watching the third season of Staged again right now, and I think I've figured something out.

The discontinuity that people are talking about of Good Omens 2.

Staged 3 was a very modern version of A Christmas Carol. Ep 1. Is there a version? (David and Michael work with Simon again) Ep 2. Who's Playing Who? (Scrooge, episode was a farce) Ep 3. Past (Michael and David are co-dependent af) Ep 4. Present (Michael and David fail to write a script) Ep 5. Future (David tells everyone they are doing a live show) Ep 6. Knock, Knock (Simon gets even, ending is sad but not really because they are just taking a break and breaks don't last forever, and Simon gets a job offer based on his script for Knock, Knock, the one story he didn't write.)

The epic trainwreck that is David and Michael's live version of A Christmas Carol is actually a hit, but everyone else has to convince them to stop the show because it can't go on forever. So they end it with Michael and David agreeing to take a break from working together even though it makes both of them sad.

But the whole premise of Staged was that everything was filmed on iPads, computers and cell phones. And it was submitted to Simon so he could piece it together.

Simon Evans wrote Staged as a love story between David and Michael. Simon writes what he sees and finds ways to incorporate fiction into reality. He saw them on Good Omens together and he saw the chemistry between David and Michael, and he turned it into a comedy about these two eccentric actors who clearly love each other. And they agreed to star in it.

They improvised most of it, but Simon laid out the framework of the plot for them to follow, and then he let them be themselves.

The entire show has layers upon layers of meta weaved into it.

Anyway, my point is...

This post is one of several that covers the different ways discontinuity seems to occur during Good Omens 2. The evidence is very compelling.

I'm not here to point all that out because I don't have the strength of some of the meta writers in this fandom, and they're already on top of it, but if we look to Staged as an example, what is the plotline that Good Omens 2 is following?

Good Omens 2 is a modern version of.... Ep 1. The Arrival Ep 2. The Clue (A Companion to Owls) Ep 3. I Know Where I'm Going (The Resurrectionists) Ep 4. The Hitchhiker (Nazi Zombie Flesheaters) Ep 5. The Ball Ep 6. Every Day

What are the stories happening around Aziraphale and Crowley? They're the focal point of season two, but what else is happening?

Neil Gaiman has said that everything means something. They aren't just showing us these things by accident. There is a story happening outside of Crowley and Aziraphale's relationship. And we are all looking closely for that person doing a very odd thing just out of sight or objects being moved around without knowing how they got there in the first place.

There was literally an entire scene in Staged where they are trying to figure out who is playing Scrooge and Simon is so anxious that he keeps moving his plant between two different spots in the room. It also ends up with Georgia accidentally planning her own birthday party because David is in Tokyo. But then they cut at one point and you learn David was actually in his bedroom and not a hotel room in Japan and Georgia didn't really just plan her own birthday party. That chaos was scripted. David has to change clothes, they have to go several minutes back in the scene they just did, but as Anna points out, the sun is not in the same place it was when they started the scene. And then Michael loses his shit at Simon and storms off.

You think that's the reason Simon left, but then we get the episode where Georgia tells David Michael wants to write the script and then tells Michael that David wants to write the script. She does it so she can get them alone in a room together because people love watching them argue. They find out she set them up about six hours later. They are hungry and hot and annoyed and mad at her so she gets Simon to come back to work with David and Michael. Simon comes back from cosplaying as a dentist, brings the food Michael ordered hours ago, and sits down to write. Michael gets pissed off at Simon again because Simon forgot the prawn crackers, so he throws his food at Simon.

Some of these are of the past. Some are of the present. They were all filmed at the same time though so you don't know what happened when or why.

These scenes are all cobbled together. They tell a complete story though. The order just isn't exact.

The story we are seeing in season 2 isn't the real story. It was happening around Aziraphale and Crowley, but with them at the focal point, you get a romantic comedy and it distracts you from what's going on in the background.

There is more than one story in season 2. It's basically a jigsaw puzzle that we can try to piece together, but we won't know what's actually happening until we get the much needed context of season 3.

There are clues all over the place in Good Omens 2. The story is being told through so many other methods except for the one that makes the most sense to us because someone doesn't want us to see what's coming, so we get distracted by Nina and Maggie, Jim, Aziraphale and Crowley.

We know Muriel and Saraqael are up to something. We know Shax and Furfur are up to something. We know the Metatron is up to something. What we don't know is where God went. We hear God's voice in Companion to Owls and we hear God's voice speaking through and with Jim when Crowley orders him to tell them what is going on. It ties directly to the first time Crowley and Aziraphale ever worked together.

We know that Aziraphale is going to Edinburgh and he knows exactly where he's going because he and Crowley have been there before. It challenges the concept of good and evil because Crowley does the good thing and gets sucked into Hell. Right next to Gabriel's statue.

We know that Aziraphale picks up a hitchhiker even though he doesn't want to, and it turns out to be Shax. She reminds Aziraphale of the time that Furfur caught them working together. There were zombies and human magic tricks and Aziraphale uses sleight of hand to save Crowley from being dragged back down into Hell again.

The episode titles of Staged 3 all represent different chapters of A Christmas Carol. But it was more than that because Michael is upset with David for doing adverts without him after they were both asked to work together at first. They love each other and they love working together, but it's preventing them from doing other things they want to do. Hence the break from working together.

It's a story within another story within another story.

And I think that's what we are witnessing in Good Omens. Things aren't happening in the right order. Beyond the sadness of Aziraphale and Crowley splitting up, there is still the next apocalypse to deal with. The story we are getting in season two isn't happening sequentially. It's being manipulated to hide the signs that things are already underway by giving us a love story as a distraction.

And it works very damn well. Because the love story was beautiful.

Staged 3 ending

Good Omens 2 ending

[sunsetsover]

i know i'm late to the party and most of these points have probably been touched on already, but i said i would make a post about why kant safewording in episode 8 was so impactful and i am nothing if not a man of my word so here we are

(under the cut bc this got completely out of hand)

tbh i feel like i could write 10,000 words and i still wouldn't be able to fully articulate the way it completely turned me inside out when i first watched the ep, but i still wanted to pull this scene apart anyway bc as i said at the time, there were (and perhaps still are) people who think kant safewording in that moment was silly or out of place or whatever, and so for my own sanity i need to list all the reasons it was not only not stupid, but actually incredibly powerful for both kant and bison's characters and their relationship overall

bc think about the context. think about how shy bison had been when he had introduced the idea of a bdsm dynamic to kant, how he had admitted it's something he had wanted for a long time but never had the opportunity to actually have that with anyone. think about how reluctant he had been to actually hurt kant, and how enthusiastic and happy he was when kant told him he was into it too. how careful he was with kant, how thorough he was about consent (excluding the scene in his bedroom obv, considering he was drugged and couldn't consent nor dom properly). how insistent he was that they have a safeword despite kant's dismissiveness bc he knows how important it is that they're safe, and that they trust each other completely. to have it and to use it.

and then think about how gutting it must have been thinking about all of that in the context of a lie. a complete farce. this thing that bison wanted so badly, a thing he was so happy to finally have w someone, to trust someone with that part of him after a lifetime of keeping it inside. think about how vulnerable and exposed bison must have felt in the wake of that realisation, esp considering he doesn't have really any experience actually domming someone fr. how used he must have felt, knowing that this really deep and personal desire had been used as nothing more than a tool to manipulate you by someone you thought you were developing a genuine bond with. kant betraying bison is one thing - imo, it was the sheer depths that kant had seemingly gone to just to use him that was what really hurt bison (which in turn made him angry). like think abt it from bison's pov: why would kant make a point to project the northern lights all over the walls for him, sit and make all these plans together so that bison's dream come true? and why the hell would he go so far as to let bison dom him when bison had tried so hard to basically talk him out of it? that's not just betrayal. it's sadistic and it's cruel. it's like kant didn't just want bison arrested, but also to break him from within.

so that's the context. keep all of that in mind. and then think about kant, tied down, completely at bison's mercy. following bison's every instruction. taking all his abuse. and then think about him safewording. he could have said anything, could have done anything. but he chose to safeword. why? why that word? why right then?

well. the use of a safeword is obvious right? it's someone's way of telling their partner 'that's enough, i don't like this anymore'. and that is the very surface level of what kant was saying by safewording. but obv the context is very, very different here. and i think it goes back to the conversation that they had when they agreed on the safeword in ep 3: kant doesn't understand then the importance of what a safeword is and what it represents. he thinks he can just tell bison to stop and that he will, and bison is obviously like 'well no, that's not how it works'. he basically says to him 'how am i supposed to know you're not still enjoying it? how will i know you actually want me to stop? what if i get confused and hurt you more?' and kant says he gets it, and to a degree he obviously does, but i don't think he got the depth of what a safeword represented until it was tumbling out of his mouth on that beach.

bc as i said, a safeword is about trust. it's about two people (or more! but we're just talking abt these 2 rn) trusting the other that if this word is said, then everything stops. no ifs ands or buts. the sub obviously has to trust that the dom will stop if they safeword, but it's just as important that the dom trusts that the sub will safeword if they're unhappy with whatever's going on. the dom has to trust that the sub trusts them.

and so kant safewords. and yes he's saying 'i don't like this anymore, i want to stop'. but he's also saying 'i paid attention, i listened, i remembered. i know you meant it and i meant it too. what you told me was important to me. i value what is important to you. i didn't just dismiss it, i didn't just dismiss you. this was never just a tool. it was never fake to me. i never used this against you. i really am telling you the truth and here's the proof.' (which, for the record, is also what he was saying before the safeword when he was like 'i know you've never trusted anyone before, i still haven't forgotten our plans, i still want to go to iceland together' - it's all reassurance that he hasn't forgotten and that it wasn't fake, that he meant all of it and it's all important to him too). and he's also - maybe even more importantly - saying 'i trust you. i trust you to stop because i'm telling you stop. if you will listen to nothing else i say, i trust you to listen to this. i'm trusting you because this is important to you, and it's important to me. i trust you to keep me safe. i trust that that if i say this word, you won't hurt me anymore.'

which is exactly why one of the first things bison says to kant afterwards on the beach is 'you think i can't kill you, don't you?' because he knows. he knows exactly what kant using that word meant, what he was saying. it's why he froze, why he was so thoroughly devastated, why he briefly lost his shit then completely fell apart afterwards - because even though it was just one word, he heard everything behind that word, and what was underpinning all of it, which was basically kant saying this isn't over for me yet. i'm still in this relationship with you. i'm still yours and you're still mine. i still trust you. and though you might not trust me right now, i know you'll trust this.

(and that's also why he repeats it so many times imo. by saying it over and over, he's proving that it isn't just a desperate or panicked plea to get himself out of that situation - he says it again and again, making a point to look bison right in the eye each time, bc that's acknowledgement that he's well aware of what he's doing and saying by using their safeword, and he wants bison to know that too: this isn't an accident, this isn't a mistake, this isn't a last ditch effort to live. i'm saying this on purpose, because i know what it means for you and me both.)

which yeah, is kind of a kick in the guts if you're bison. he knew he couldn't hurt kant. he knew he wasn't angry the way he was pretending to be angry, because the hurt was just too visceral (which i'll expound on in a second). and here was kant basically sticking his fingers in a fresh wound. here was this man he shouldn't trust at all, telling bison that despite who bison was and after all things bison had done to him (deserved or not is irrelevant here), he still loves him - not just with words but proving it in a very tangible way. a way that was theirs and theirs alone.

that was what gutted me on my initial watch. i obviously didn't think about all of it consciously in that moment, but i still knew it was there. i still felt it, the same way bison did. kant safewording in that moment was never just about him saying 'stop, i don't like this, please stop hurting me' and bison knew it, which is why he reacted so strongly to it (and why i did too lmfao)

so that was my initial thoughts, but liz @ropebunnykant brought up a really interesting point that i hadn't considered at first which is that kant was also safewording for bison's sake. which, while it hadn't been my first thought, definitely wasn't the first time i've heard of something like that happening either - a sub safewording, not bc they necessarily need to, but bc they've noticed that their dom isn't enjoying it/isn't in the right headspace to continue etc. and when i went back i could see it so clearly, esp as kant started to repeat it.

bc what happens immediately before the safeword use? kant pushes, and bison says shut up. kant continues pushing, and bison keeps telling him to shut up. the back and forth of bison and kant's safeword discussion is once again so important to the context here - kant asking if he can just say bison's name to stop him, and bison telling him no, that they need a way to differentiate when 'stop' is just a word and when it's genuinely meant.

bison telling kant to shut up was his stop. and kant pushed, because he didn't realise it straight away, because he had so much to say and for the first time bison was listening, because sometimes stop doesn't mean stop. but at some point kant realised that this stop did. and what did bison teach him to do when he really needs to stop?

and so kant safewords.

i do think kant could have kept playing that game for as long as he needed to. as long as bison was angry, kant would have stayed chained up like a dog. he didn't have to - he proved he could easily get out of his restraints in their very next scene. he could have asked the caretaker to help him get away. but he didn't. he chose to stay. maybe he wasn't on the boat, but at that point kant was a willing participant in what was happening, he was consenting. why? bc kant deserved punishment. bc bison deserves to punish him. bc to him staying there is it's own kind of proof. bc if bison's angry then he's still talking, and if he's talking there's hope. apathy is what was going to kill kant and he knew it - if bison's angry, that means he still cares.

but then we get that shot of kant's pov, of bison staring down w the gun pointed at him, barrel shaking, tears in his eyes. and it's not fun anymore. neither of them are gaining anything from this. bison's anger has finally given way to hurt, to heartbreak - kant knows in that moment that bison isn't getting any kind of satisfaction out of making kant squirm, and likely never was. which literally goes back to the core of a dom/sub relationship, doesn't it? you engage in that kind of dynamic bc both parties are getting something out of it. kant was getting the flagellation he thought he deserved after what he'd done to bison, the punishment he wanted (and to a degree needed) as payment for his wrongdoing and the sense of absolution that provided him. bison got the satisfaction of providing that punishment, of letting out that anger, of making kant hurt for what he did - or so kant thought. bc the reality is that bison wasn't getting any satisfaction out of punishing kant. no matter what he said or did, no matter how he hurt or degraded him, none of it made him feel better. and kant hadn't noticed that until that moment (which i think he can be forgiven for, given everything that he was going through). but then he does notice.

bison wasn't getting anything out of the hurt he was inflicting, and was inflicting pain upon himself in the process. and if one of them is not getting anything out of it - if one of them is actively hurting themselves in a way that doesn't feel good - then they need to stop. someone needs to safeword. kant knows this. and so he safewords - not so bison doesn't kill him, as some people have said, but to stop bison from hurting himself any further.

and so kant safewords immediately. retracts the consent that perhaps bison hadn't even realise he'd given willingly. he ends the game. he uses his safeword just like bison taught him to, bc it matters and he trusts him and he loves him. that hasn't changed, not even like this. and he repeats it so many times for that very reason.

and believe it or not, i feel like there is still so much more to it i could pick apart even beyond this. bc god there are just so many layers!!!! like there's fear in it too, bc as much as kant is unconcerned abt the gun and is sure that bison won't hurt him, he's still human. some degree of fear is normal. i also think kant sensed an opening in bison's defenses that he wanted to get at just so that bison would just listen to him - bison wasn't really in the headspace to listen to anything before then, which is exactly why kant hadn't really tried to explain himself properly. it would've been pointless. and as much as he loves bison, kant is still kant - he still knows how to work people. i also think kant was tired and hungry and emotionally exhausted and while i do think he would've played along for as long as he had to, i think he also needed bison's anger and attention to fuel him. faced w nothing but his sadness, he lost all steam. kant's own sadness and overall feeling shitty probably hit him full force in that moment too, and he didn't have the strength not to fold under it. and so he safeworded.

however, if i start picking apart all of that i really will end up writing 10,000 words and no one really wants that, least of all me. but the point that i really want to make is that kant safewording in that moment was never really abt him not wanting to die. it was about care and it was about trust. it was about acknowledgement. most of all it was about love. and we'd all be doing the story and these characters a disservice to simply go 'hehe he safeworded out of murder' while not also addressing what it really was! which was kant acknowledging their bond, showing bison care in the only way he could while telling him he loves and trusts him all at once!! it was him claiming ownership of the ownership bison has of him!! he said penguin bc there was literally nothing else he could have possibly said in that moment that would have had the depth and significance than that one little word did!!! he said more with that one word than he could have said with a thousand other ones!!! and it drives me crazy whenever i think about it for more than 5 seconds at a time!!! thank u for coming to my ted talk!!

[chaifootsteps]

I think this ep confirmed to me that vivziepop is generally creatively bankrupt and her fame is a farce. Legitimately some of the worst storytelling I’ve ever seen. And reusing more outtakes for Millie’s dialogue it seems? Oh my god just cancel this thing.

In a better world, it would be.

[kropotkindersurprise]

Waarom lieg je tegen me, bol?

[fuckyeahmarxismleninism]

By Scott Scheffer

The bipartisan nature of imperialist aggression toward Cuba has never been more evident as President Joe Biden carries forward the Trumpist assault on Cuba via the U.S. State Sponsors of Terrorism (SSOT) list.

Cuba has been hosting talks to bring an end to the bloodshed in Colombia since 2012. In the twisted line by the White House, Havana is accused of supporting terrorism because it rejected attempts to sabotage the process that offers hope for the people of Colombia.

[andorshitdaily]

ANDOR Best Line, Round One

"It took the combined ingredients of idiocy, ineptitude, and total disengagement for this farce to have reached the full apex of incredulous disaster!" - Lieutenant Blevin, ep. 4

vs.

["You'll hang for this."] "Seven years serving you? I deserve worse than that." - Lieutenant Gorn, ep. 6

[fleabagreact]

here we will analyze the complete manuscript, many, many spoilers ahead, continue with your account at risk.

(i live by agatha ghost.

agatha invented the legend of the witches' road. rio kept nicky alive as long as agatha gave her bodies. billy created the road. but when we analyze the episode more deeply, there are many gaps to be unraveled and nothing confirmed about s2.

so, questions about nicky are left open... was he a stillborn? could it be because he was literally the son of death that he never had a chance? in quicker terms, he was always hers.

agatha never told nicky much about why she killed witches, it was vague, although personal i would say. evanora you bitch.

i confess that i think it's very typical of her to create a legend to get bodies and even more typical of her to continue with this farce for centuries just to avoid feeling the loss of her own son. a comment i once saw on tiktok about her being an addict makes more sense with the character. she can control her power, although i maintain that this power is frowned upon by other witches, like a taboo.

i started talking about agatha the phantom and i loved her extremely characteristic look from the comics but i have to say that all of this makes me bitter.

billy the creator of the road? why did everything turn to him? i like the character and there was room for his development without him suppressing agatha's power as the protagonist. i found this final focus on him boring, although i like the idea of them as a coven. i don't know, i just can't buy this arc of him feeling guilty about the girls' deaths, it doesn't go down well with me, but that's my opinion. i wanted a bigger focus on agatha, and i think it was possible to have that and still focus on the remaining characters.

we can't help but talk about "how come Agatha blocked Jen?" HOW THE HELL DID THIS HAPPEN, BECAUSE ALL OF A SUDDEN NONE OF OUR TRAUMAS ARE RELEVANT??? it's the feeling i had in the middle of this entire ep...

to close, i want to talk more about agathario. i don't like how all this ends vaguely about the relationship between the two, like a beautiful kiss (really, what a beautiful thing) but i don't know... it smells like laziness and prohibitions to me.

BUT we need to talk about rio's respect for agatha. even though her heart hurts because the woman she loves doesn't understand, she still keeps agatha's space. even though she doesn't like ghosts, she prefers to leave agatha as one than to make her unhappy. does she accept this? no. their battle makes this very obvious. she wanted to end agatha because she didn't understand her all this time. i think this is perhaps the biggest problem in their relationship. rio, even though she is an entity, understands. agatha is proud and arrogant and doesn't understand. she wants her power to be greater than the power of death. the only time she seemed to understand this is when they were at the campfire talking about rio's scars.

[leejungjaes]

Rewatching ep 7 and the scene were they’re planning the wedding breakfast, i had thought, pen’s response to the entrapment comment would of been interesting if it was I love you Colin but if that is what you think then we should call off the engagement ( I remember women are allowed not the men), I would of loved to see Colin’s face and actions after that. He would of clung onto the fact they were intimate so they should marry being the only excuse as he knows, deep down nothing would of stopped him marrying pen, he was deflecting out of hurt and it’s almost like him finding excuses instead of owning up to the truth at the time similar to why debling wasn’t a good match “too particular & just not right for you” before he confessed.

Fan fic writers out there? 😇

yeahhhhh....something like....

"i did not mean to entrap you, colin. i love you..." penelope whispered, eyes darting quickly to their chatting mothers. "but if that is how you truly feel then perhaps we should call off the engagement now."

colin who was presently firmly looking away from her, suddenly turned his head to meet her eyes. penelope witnessed the fleeting emotions as they passed over his face and eyes, surprise, confusion, horror, anger, and a firm resolution.

"no -"

"if you remain true in your belief that i entrapped you then this marriage will be a farce from the beginning. i love you, i really truly love you, but i will not enter this marriage because of intimacy alone."

penelope bit down hard on her trembling bottom lip and drew into the courage of her heart to turn on her heel and leave the room swiftly. out of the corner of her eye, she saw colin's hand reach out for her and fall just as quickly, fingers twitching as though they wanted to grab hold of her and never let go.