#and one of the best Cinderella adaptations out there

[idiosyncraticrednebula]

I will never understand why some people feel the need to defend the indefensible.

[penguinlife]

Honestly, it all seems super sus. Jake's IG story post of Nic at the SAG awards was my first, what now. The comment from Jake on the pic and like from Nic. Strange, but ok. Now Nic and the dancer are following each other. If Jake and A have been misdirections/decoys all this time, it totally makes sense. If this is damage control to save Luke's relationship, it is odd. We all saw what we saw. Authenticity is key. We don't believe Nic and Jake are together. The way sweet kind Luke treats A is so out of character.

If Nic and Luke is so set on selling the narrative that they are not fucking and are just friends. Maybe find plausible other halfs, not a backup dancer and an aspiring actor. They are way too young, and it looks bad for both of them.

Something else I noticed is the reference that Nic looked like Cinderella in that pretty blue Dior dress. You could see the panic in her face when the reporter said it. Benophie is supposed to be a Cinderella adaptation. There was almost no fan attention paid to the Benophie story after the Tadum Valentine's Day event. Everyone was pretty focused on Polin and baby Featherington. I wonder, and it is just my thoughts. Maybe their contract renewals for S5-S8 might be on the block. Does Shondaland want them out of the way for the other stories. The way Nic and Luke pushed so hard that Yarin Ya and Luke Thompson are doing such a great job and that it is going to be great. It sounded very odd. As both were specifically asked about them in S4. Not a general question of the show. Also, Nic has changed focus to baby Polin in interviews. She rarely talks about Pen and Colin. I'm pretty sure there is pressure from Netflix for more Polin. They look at numbers and don't care about whose turn it is to lead.

Then I also thought that maybe they were not allowed to date, that it was in their contracts. If so, it is a major overreach.

I have said it before and I will say it again. You can not control SM. It is a beast of its own. Nic and Luke want to lie to themselves. That is also fine. Do you know who were just besties before they hooked up in a carriage? Pen and Colin. So good luck, besties. May you have lots of intimacy scenes to act out your heart without dealing with your feelings in rl.

I almost forgot to also mention, has anyone seen any photos with Nic and the rest of the enamble except for Luke?

The way Luke and Nic saw each other on the red carper was so authentic. He was doing an interview, and the interviewer pointed her out. He had a truly honest reaction seeing her. No cameras were on his face, but we could still see his jaw fall open the same way as it did on the BTS wedding clip. He then stands there for a second, deciding if he should interrupt her interview. But he is so overcome that he can't control himself. Then she has a totally real reaction to seeing him. She looked surprised. There was an honest delay in her reaction. And then she looked elated.

He pulled her into the hug that lasted just a few seconds too long to pass for a friendly hallo. It looked more like they needed that hug to survive. Then Luke immediately steps back when the interviewer comments that their outfits match. Realisation that they were just called out. They proceed to do 2 other interviews together. The one where the guy interviewer put his hand on Nics' shoulder, and Luke looked like he could murder the man. His stare so intense that the interviewer actually steps away, and the woman interviewer takes over. Luke was standing so close to Nic towering over her like a bodyguard. It was by far the best entertainment I have seen in 8 months.

[buckets-and-trees]

Chris Evans Characters

↠ Main Masterlist | Aspen's Ask Box | Field Guide to the Forest

Unless specifically noted, all of my stories feature a female reader insert character.

dividers by my lovely og wife @vesearartistry

feat. Andy Barber, Ari Levinson, Curtis Everett, Lloyd Hansen, Ransom Drysdale

Andy Barber

I’M YOUR MAN soft!dark mafia AU dubious consent, forced marriage, explicit smut

↠ I'm Your Man [3k] ↠ Morning Radiance [750] ↠ Prepare for Takeoff [1.5k] ↠ Don't Look Too Far [6.4k] ↠ Burned Off the Haze [4.5k] ↠ Cracking Locks [5k] ↠ Dangerous Desires [6.3k] ↠ ask: a moment on your honeymoon [350] ↠ Make Her Glow [1k]

EXTRAS: ↠ will Andy let the reader work? ↠ what if Andy were forced into marriage with the reader?

Legal Temptations [6.4k] takes place a year or two after Defending Jacob

Ari Levinson

OBSIDIAN STAIN & SIN Ari x reader x Curtis Everett tattoo artist modern AU soft!dark, initial mildly dubious consent, explicit smut, many kinks

+ Obsidian Stain and Sin [8.1k] + Taking You Home [6.2k] + Worship in the Bedroom [3.2k] + Get Closer to Me [5.8k] + Sleeplessly Embracing You [2.4k] CURTIS POV / NO ARI + Sensible Sorting [1.5k]

Slope - Concept Pitch [2.5k] modern AU - some college, then mid-30s second chance half imagine, half storytelling

Lakehouse Ari ask/thot [160] Quite the Morning [1.6k] mfm with Nick Fowler modern AU - brother's best friend, first part of The Lake House soft dark, smut

Waiting On One Look [300] apocalyptic omegaverse AU soft dark world, but not a soft dark Ari

Crimson Mornings [500] Ari x reader x Bucky Barnes explicit smut

Curtis Everett

OBSIDIAN STAIN & SIN Curtis x reader x Ari Levinson tattoo artist modern AU soft!dark, initial mildly dubious consent, explicit smut, many kinks

+ Obsidian Stain and Sin [8.1k] + Taking You Home [6.2k] + Worship in the Bedroom [3.2k] + Get Closer to Me [5.8k] + Sleeplessly Embracing You [2.4k] + Sensible Sorting [1.5k]

an ask about a water creature C!Evans character [1.2k] + Never Going Back Again [3.7k] Bolotnik!Curtis x reader undefined time period AU explicit smut, first piece: non/dubious consent, second piece: full consent, terato/monster fucking

THE LAKE HOUSE a collection of encounters in a modern AU setting soft!dark, explicit smut, no strings attached, brother's best friend(s), reverse harem

↠ Curtis shows up [1.4k]

Lloyd Hansen

HUFFILY EVER AFTER: A CINDERELLOYD STORY - COMPLETE modern AU, Cinderella adaptation, unknown identities + enemies/rivals to lovers, eventual smut

↠ chapter 1: The Masquerade [5k] ↠ chapter 2: Conference Day One [6.4k] ↠ chapter 3: The Panel [4k] ↠ chapter 4: The Awards Gala [6.5k] ↠ chapter 5: Fallout and the Final Morning of the Conference [6.6k] ↠ chapter 6: An Afternoon Adrift [6.5k] ↠ chapter 7: Conversations on the Final Night [6.9k] ↠ chapter 8: Departure Day [6.7k]

WELCOME HOME, PUMPKIN  set of three stories utilizing the same opening and sharing lines of dialogue and narrative but with soft, soft dark, and dark results

↠ soft: Sugar Pumpkin ask: before you got together | fic: Room to Grow | ask: holiday Lloyd - Christmas while you're pregnant ↠ soft!dark: Spiced Pumpkin ↠ dark: Smashed Pumpkin (non-con) Smashed to Pieces (non-con)

Unholy Errand [4k] Lloyd x reader, God the Bounty Hunter x reader, Ransom Drysdale dark, non-consent, dubious consent, explicit smut

Lloyd punishment ask [500] explicit smut, bondage, dom vibes

Lloyd hearteyes ask [330] light smut

Ransom Drysdale

Between the Lines [4.4k] post-Knives Out, fake engagement, slow burn, forced proximity, "enemies" to lovers, off-page smut

Steve Rogers Collecton

Main Masterlist

[atomsvrtual]

in defense of anora: an analysis about classism and gender expectations.

first of all, this silly analysis has no intention of converting people who dislike this film into sean baker’s biggest fans, as he is a flawed person that deserves real critics. this is being written after the oscars ceremony, and since the most opinionated people are on twitter, it took mere minutes after anora won best picture and best actress for waves of misogyny, vitriol, and misguided discourse to flood the platform. many questioned whether it was right for the film to win five of the six categories it contended in.

so, like most, i too felt compelled to express my opinion on all of this.

i am not a film major, so technical details about framing, the use of color as part of the “unspoken dialogue,” and many other small yet necessary aspects might escape my notice. as the title of this analysis suggests, i have chosen to focus on subjects that i consider myself less ignorant of.

so, shall we begin?

cinderella is one of the most well-known fairy tales in human history. a pretty girl, subjected by external forces to live in a degrading situation, longs for a better life — a better version of herself. as many psychoanalysts have pointed out, cinderella symbolizes the human yearning for validation and belonging. bruno bettelheim, in the uses of enchantment, argues that fairy tales serve as psychological guides for children, reinforcing the belief that perseverance will lead to recognition and reward. cinderella’s transition from servitude to prestige represents the fulfillment of this unconscious desire—the certainty that, even in adversity, a grand destiny awaits us.

her arc has inspired countless films, such as pretty woman (1990) and every direct adaptation of cinderella. sean baker’s anora, however, does not simply borrow this archetype — it interrogates it. he could have delivered a more sympathetic protagonist, one with an explicitly happy ending. after all, two hours are more than enough for us to root for ani, to wonder what circumstances led her to that club, to that harsh life. but baker takes a different route, offering something more unsettling: what if a grand destiny doesn’t await all of us? what if resilience alone is not enough? anora forces us to confront an uncomfortable reality — class barriers don’t always crumble in the face of perseverance, and not every woman’s story is destined for validation through love or social mobility.

pierre bourdieu, in distinction, highlights how class structures perpetuate themselves, shaping opportunities in ways that effort alone cannot overcome. by stripping away the cinderella illusion, baker dismantles the fantasy of upward mobility and forces us to ask: what happens when society refuses to grant you the dignity of a happily-ever-after?

in the opening minutes of the film, ani moves through a dark, almost nightmare-like sequence — dancing for strangers, securing clients, and scraping together money. she returns home alone, the metro rattling in the background, as if time is slipping away from her. the moment echoes judith butler’s concept of precarity in precarious life — how some lives are rendered more vulnerable, their suffering less acknowledged. ani’s existence is dictated by survival, her worth measured in transactions, her agency eroded by forces beyond her control. she is seen but never valued. and stopping, even for a moment, feels like a luxury she cannot afford.

when ani meets her russian prince — wealthy yet unremarkable — the viewer is left wondering: in a more realistic scenario, would a woman in her position react the same way? or would she recoil from another dynamic that feels transactional? anora diverges from the classic fairy tale, adding another layer: the loss of what little remains of innocence. if cinderella is a story of transformation, anora asks — what if the transformation is not into something greater, but into something colder, more resigned?

if fairy tales teach us to believe in destiny, baker’s film forces us to confront the weight of disillusionment.

yet ani, on some level, already knew what to expect. the rushed marriage, the transactional nature of her relationship with vanya — it all lacked deep enough roots. and yet, she clings to the fantasy. in a society that demands self-sufficiency from women while systematically depriving them of space to dream, her decision appears almost irrational. after all, what woman — especially a sex worker — is that naïve?

this is where gender expectations weigh heavily on ani’s story. women are forced to balance self-reliance with desirability, pragmatism with hope. judith butler’s gender trouble frames femininity as a performance shaped by social forces. ani, in embracing the fantasy of transformation, is punished for daring to believe she could escape her place. but should she have known better? or is that expectation itself a form of control?

in an era of growing conservatism, where rigid gender roles dictate what is expected of women, anora unsettles because it grants humanity to those deemed unworthy of it. ani is a girl — yes, a girl. because while men in their thirties are still called “boys,” given room to be reckless, ani is expected to navigate the world with full awareness of its dangers. she is supposed to know better. to never mistake survival for opportunity. to never dream.

baker strips away any romanticized notions of survival. we see ani’s sexual encounters—her pleasure rarely centered. the luxurious gifts — decorations rather than affection. the husband — almost never bothering to correct his friends when they call her a whore in russian. and even if she understands, what does it matter? in their eyes, respect was never hers to claim.

this is what makes anora so unsettling: it refuses to conform to the fantasy that upward mobility and male validation can redeem a woman on the margins. it forces us to confront how gendered expectations dictate who is allowed to dream — and who is expected to endure.

ani’s abrasiveness isn’t just a trait — it’s a shield. a survival mechanism. she sharpens her edges not because she enjoys the fight, but because she cannot afford to appear fragile. she has felt the weight of judgment every day since she realized this was her only option. and when the illusion of her fairy tale crumbles, she clings to the last vestige of that dream: the ring. not for its material value, but because it proves she had, for a brief moment, existed outside her work.

but to those around her, she was never truly a wife. to them, she remained what she had always been — a sex worker. a body for rent, never a woman to be cherished.

and yet, in her lowest moment, ani is recognized — not by her husband, not by the people who once claimed to respect her, but by igor, the russian henchman who had watched her from the beginning. he alone refuses to use force against her. he alone sees something beyond the labels imposed upon her. his presence echoes bourdieu’s theory of social reproduction — how those trapped within rigid hierarchies recognize each other’s struggles. his silent acknowledgment carries more weight than any declaration of love, because it is not rooted in fantasy but in understanding.

in the end, anora is not a fairy tale, and ani is not a cinderella whose worth is defined by eventual ascent. she is a woman caught in the machinery of a world that demands performance but offers no redemption. the fantasy of upward mobility was nothing more than a cruel sleight of hand — a game where the house always wins.

what makes ani’s story tragic is not that she loses — it’s that she was never truly allowed to play. the moment she dared to believe in something beyond survival, the world closed in, reminding her brutally of her place. her mistake was not naïveté; it was the mere act of reaching for something more.

and as she walks away — without a prince, without a kingdom, without even the ring she desperately tried to keep — we are left with the harshest truth of all:

some cinderellas do not make it to the ball. some are left in the ashes, where the glass slipper was never meant to fit.

[femmeprincessjulia]

Ranking Cinderella Adaptations Based On How Much I Want The Dress

(In my own personal opinion, these are just the ones I like the best.)

10. Cinderella (2021) : Everyone's hated on this movie enough, so I'm just going to focus on the dress. In theory, I could see what they were going for. If it was just a fitted bustier, a hip-hugging skirt and a bustle, then I think it would have succeeded. But it's just underwhelming. That's all it is. Underwhelming. 3/10

9. Into The Woods (2014) : There's not much to talk about with this dress. I love the color choice, and I think the way it moves is pretty. But it just feels too simple. I know it's a dress that isn't crucial to the plot or anything, but it's still just a little too underwhelming. But I do think the sleeves are cute. 4/10

8. Once Upon A Time (2011-2018) : I think my issues with this dress are similar to my issues with Into The Woods. It just doesn't have the "wow" factor I'm searching for. It's a beautiful dress, and I would certainly wear it. But it just feels like the most generic Cinderella dress. Blue, sparkly, princess-y. Still cute though. 4/10

7. Another Cinderella Story (2008) : I'm a sucker for a red dress, and I truly adore this one. The neckline isn't my favorite, but I love the layering and the ruffles. It's such a daring take for a Cinderella dress, but it's something I would definitely wear. It looks like it would be fun to dance in. 6/10

6. Cinderella (1950) : Yes, it's a classic. It's simplistic, but so magical. The scene where her dress changes is one of my absolute favorites of all time. In this case, I love the simplicity. It really makes her stand out. I dreamed of this dress so much as a kid. 7/10

5. Ever After (1998) : Maybe I'm biased, because this is one of my favorite Cinderella adaptations, but I do adore this dress. While the time period is not my favorite in terms of silhouette, this dress still feels magical and dreamy. Empire waists and a slender fit aren't my type, but I would wear it simply to feel ethereal. I mean, the EMBROIDERY? The WINGS? All gorgeous and stunning. 8/10

4. A Cinderella Story (2004) : Yeah, it's a very simple dress. But it's absolutely breathtaking. I want to get married in this dress. Something about it is just so angelic. I feel like it should be paired with wings too. The femininity in this dress is something I truly adore. 8/10

3. Rodgers and Hammerstein's Cinderella (1997) : Is it costume-y? Yes. Is it made of two clashing materials? Yes. Would I sell my soul to the devil for the chance to wear this dress? Also yes. I don't care how cliché it is. The sweetheart neckline, the opera gloves, the little bustle in the back, it's all so cute and just feels like a little girl's princess dream. Plus, I love the shade of light blue. 9/10

2. The Slipper and the Rose (1976) : Shockingly, I haven't seen this film. But I truly should, because the costume design is absolutely gorgeous. It all takes inspiration from the rococo period. My bias takes hold again, it seems. Sure, it's a lot of frills and pink, but that's exactly what I look for in a dress. If I was going to a rococo ball, this is what I'd be wearing. 9/10

1. Cinderella (2015) : The almighty. The most beautiful dress to ever be created. The dress that lingers in my dreams. Nothing can surpass this dress. Words can't even describe how wonderful it is. I do believe this dress is the most magical of all. It is absolute perfection from head to toe. Scratch what I said earlier about getting married in Hillary Duff's dress. I'm getting married in Lily James' dress. 1000000/10

[hotvintagepoll]

Propaganda

Judy Holliday (Born Yesterday, Bells Are Ringing)—this woman had an IQ of 172!! she was a jewish new yorker!! investigated for communist sympathies and named no names!! tony and oscar winning actress!! leonard bernstein thought of marrying her???? which part of this is not fabulous i ask you that right now

Mary Anderson (Lifeboat)—no propaganda submitted

This is round 1 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut]

Judy Holliday:

Mostly remembered for beating screen legends Gloria Swanson and Bette Davis at the Oscars for her performance as ditzy blonde Billie Dawn in Born Yesterday, Judy Holliday was an incredible actress whose charm, vulnerability, and humour impressed Katharine Hepburn so much that Hepburn helped her secure the role of Billie Dawn in the screen adaptation of Born Yesterday by getting her a role in 'Adam's Rib', starring Hepburn and Tracy, when Judy was deemed 'too unknown'. Holliday was also an incredibly smart Jewish leftist, who played the ditzy blonde part again when pulled up by HUAC for 'communist sympathies'. She never named names and managed to avoid getting blacklisted. What a queen. She also had an incredible and unique voice and one of the best smiles in the business.

HOT. FUNNY. JEWISH. BLONDE. WOMAN.

She was a singer, dancer, comedienne, and Oscar-winning actress (for Born Yesterday), and she had a gorgeous curvy Cinderella vibe that is everything to me. The part of Lina Lamont in Singin' in the Rain was written for her, but after she won her Academy Award the producers realized she was far too big a star for a supporting role, so her friend Jean Hagen did a perfect impression of how Judy would play it, and she got the part!

SOMEONE PLEASE TALK ABOUT BELLS ARE RINGING??? HELLO??? THE FUNNIEST COMEDIENNE MY GOD SMART AND FUNNY AND HOT AS HELL?

Judy Holliday was the whole package--actress, singer, dancer, and comedienne--she lights up the screen in such a powerful way that she outshines everyone else. Here she is in a supporting role in Adam's Rib (1949) giving her statement to lawyer (Katharine Hepburn) on why she shot her cheating husband [editor's note: tw for domestic abuse & murder mentions] In every movie I've seen her in my heart goes out to her, she's so authentic and beautiful. She's proof that it takes smart to play dumb, and can make me laugh and cry in the same scene let alone the same movie. Film historian Bernard Dick on Holliday: "Perhaps the most important aspect of the Judy Holliday persona, both in variations of Billie Dawn and in her roles as housewife, is her vulnerability... her ability to shift her mood quickly from comic to serious is one of her greatest technical gifts." She won the Oscar for Best Actress (beating out Gloria Swanson, Bette Davis, and Anne Baxter) for her performance in Born Yesterday.

[hotjaneaustenmenpoll]

Look, I know Darcy is going to win, and that most of the people voting have too much of an attachment to the BBC Pride and Prejudice to even consider debating that Ang Lee's and Emma Thompson's Sense and Sensibility is the best Austen adaptation out there. But Brandon is still the best Jane Austen Man and the last one standing from that film, so I have to submit a final slew of propaganda on his behalf:

He yearns

He respects your little sister

He's agile (no he did not complain of a rheumatism, it was a slight ache)

He's earnest one minute

But will throw shade at a rake the next

He doesn't half ass several things, he whole asses one thing, which is to be there when it counts...

...and will ask what's needed and does it without hesitation, even if it means picking your mom up from her house when it takes a whole day just to get there

He shares your interests, and will buy you a whole piano just to make you happy

He's literally a male Cinderella story, come on

Bonus content: The acting chops to be this charming while the horse you literally rode in on spends every take farting up a loud, stinky storm

Colonel Brandon (1995) Vs Mr Darcy (1995)

[synergysilhouette]

10 Disney hot takes/unpopular opinions (Part 7)

I'm sure the title is self-explanatory. You know the drill! Check out part 6 here.

Phoebus is Disney's best main-supporting character--I know I stated this objectively, but obviously "best" is subjective. I always appreciated his kindness and strength, and while he doesn't really grow in viewpoint since he always has a strong moral compass, his allegiance changes, and we love to see it when a good guy stops working for the bad guy! Only wish he got to sing.

2. Aurora's dress is the best Disney princess gown--I think it's because of the uniqueness of it; the sharp elements instead of rounded aspects, as well as the pink color (which helps her stand out; blue pits her against Tiana, Jasmine, and Cinderella). Plus I love when merchandising gives her a blue AND pink dress.

3. Eric should've sang in the musical and he and Ariel should've gotten to talk after the battle--I'm glad other adaptations (the live-action remake, the Broadway adaptation, and the anniversary special) have fixed the singing part, but I do feel like it was a missed opportunity to not have Eric sing in the film. It's kind of disappointing actually that it's actually other characters who sing most of the songs rather than the main character (who only gets 1.5 songs) and her love interest. Plus I always wished we got a reconciliation scene between Ariel and Eric rather than a "back to square one" approach they did.

4. I think Disney could get away with more (censored) violence--Kind of an oxymoron, but what I mean is that "Pocahontas" and "Mulan" got away with violence in a way that was still digestible for a younger audience. Not saying that every Disney film needs a lot of violence, but when violence is warranted, they can do so by getting creative with how it's shown, rather than it being offscreen or skipped over.

5. Mirabel should be a Disney princess--I know some people see the DP line as kind of elitist and only admitting "a certain type" of heroine, but aside from adding diversity to the line by being the first Latin-American princess/first South American princess/first Disney princess with glasses, she's also a well-written character who's personality and heart makes her join the line without feeling like she's just there for the sake of optics.

6. "If I Never Knew You" is the greatest Disney love song--I've said it before, but not on a hot take post. It stands out as a song that isn't about the sweetest moments of love, but the darkest elements and consequences of love. Not saying I want the next Disney couple to have a sad ending like Pocahontas and John Smith, but a love song when all seems lost is really unique, and I kinda wonder if this song would've won an Oscar if it had been included in the final cut.

7. We need more complex stories with complex antagonists--I feel like Disney has started telling more complex storylines with "Frozen," "Zootopia," "Big Hero 6," "Encanto," and "Raya and the Last Dragon," and I want them to continue to. Obviously you want a story with a happy ending and something to please the kids who may want something uplifting, but that doesn't mean you can't have more grey-area movies with the protagonist having to change/grow their perspective, and the antagonist not necessarily being a villain.

8. "Tangled" is the wrong movie for Disney on Broadway to be working on--While I understand that it's a popular film, there are renaissance films that should've gotten that treatment before, as well as "Moana" and "Encanto" feeling like better ideas, especially in order to capitalize on their viral impact.

9. "Frozen 2" has the most (emotionally) impactful soundtrack of the Revival Era--I've thought a lot about this, but while Disney always has an emotional song or two in their musicals, "Frozen 2" is an emotional journey from start to end; even the fun songs like "Some Things Never Change," "Lost in the Woods," and "When I'm Older" have a profound meaning to them, a sense of change that Disney should've brought into the 2020s with them. While I found the film narratively clunky, all of the songs (even the ones I wasn't big on) still left me with a feeling of fufillment, like I had just went on an amazing journey of self-discovery. Mature movies like that usually aren't musicals, so I'm glad this was.

10. The Bronze Age is one of my least-favorite Disney Eras--If you know my channel, you know my opinion on animal-centric films; not a fan, with "Zootopia" being an exception because I loved the plot AND they were somewhat human in the world/setting. Almost all of Disney's films during this era were animal-centric, and none of them were good enough for me to be engaged. And while I find "The Black Cauldron" underrated, I do kinda wish Disney had made it a musical instead.

[lapileaf]

Buddy’s MBTI and Enneagram Analysis (I forgot about this 😭 I made it after the final and i forgot about it) special thanks to IzNome for looking this over back in December!

I’ve been working on this analysis for a while, but I wanted to wait until after the final to post it. I’m still using the name Buddy for now, though I really do love “Nox” too! Here’s a breakdown of his personality type:

Buddy:

ESTJ - “The Executive”

Extroverted, Sensing, Thinking, Judging

At first glance, Buddy might seem like an introvert, but hear me out—I’ll explain why I think he fits better as an ESTJ.

ESTJs belong to the “Sentinel” group and thrive on order and structure. They prefer making decisions based on what they know, and they’re usually the ones who take charge in a group setting.

I’m going to break down each part of Buddy’s personality based on how I see him throughout CB. (This might develop further or change based on season 2 but this is what I have so far)

Extroverted (E)

Buddy is an omnivert—someone who can swing between extroversion and introversion depending on the situation. This is a concept that doesn’t fit into the traditional categories of MBTI types, but it’s a helpful way to describe people like Buddy who don’t strictly fall into either the “extroverted” or “introverted” box. Omniverts have the flexibility to adapt based on their environment, feeling comfortable being alone when needed, but also able to interact socially when they’re in the right mood or with the right people. ISTJ are very similar to ESTJs but it’s not as common as an ISTJ to be an omnivert.

So, while Buddy may seem like he’s introverted at times (quiet, reserved, closed off), he also has moments where he’s incredibly assertive and outspoken—especially when interacting with characters like Chase or when pursuing his roles in the story’s. There are instances in CB where Buddy engages with characters he doesn’t like, simply because he has too or he wants to. Even when he’s frustrated, he still makes sure to have his voice heard. His need for social interaction often outweighs his desire for solitude.

At times, Buddy can shut down or become withdrawn if he’s unsure how to act in a situation. This kind of response can be a characteristic of introversion—when he feels uncomfortable or doesn’t know what to do, he becomes awkward and quiet. But in moments where he feels confident, or when he’s trying to dominate the situation (like in his exchanges with Chase), Buddy is extremely vocal and assertive. His actions show that, while he can be introverted in some situations, he’s more of an omnivert in practice. He seeks out social interactions but also requires downtime to recharge.

Sensing (S)

Buddy values structure and clarity. From the start of CB, it’s clear that Buddy prefers things to go the way they’re supposed to in the stories. He gets frustrated when things don’t unfold as planned, as he’s focused on completing tasks the “right way.” He’s not the type to stray from the original plan or improvise, and he’s uncomfortable with deviations. For Buddy, consistency and stability are important, and he values the big picture over the small details when problem-solving.

Thinking (T)

Buddy approaches problems logically. When things go wrong, he tends to rationalize the situation, trying to come to terms with it through his logical framework. He tends to downplay emotional reactions in favor of practicality. There are times when Buddy’s emotions do get the best of him (especially with Chase), but generally, he prefers to think through his options before making decisions.

For instance, Buddy didn’t understand why Chase would care about storybook characters (like in Cinderella) because, in Buddy’s mind, they’re just fictional. He also struggles with the idea that Chase would be kind to him without expecting anything in return. This kind of unreciprocated kindness doesn’t align with Buddy’s transactional view of relationships.

Judging (J)

Buddy is all about structure. He’s bothered by any deviations in the story’s chaos, which is evident in how he interacts with Chase throughout CB. The way Buddy insists on doing things the “correct” way and sticking to the plan shows that he’s a “Judging” type. His need for structure and predictability clashes with Chase’s more spontaneous, “Perceiver” mindset, and it often leads to conflict between the two.

Enneagram: 8w7 - “The Nonconformist”

As an 8w7, Buddy is independent, confident (or at least tries to appear to be 😭), and assertive. He seeks to maintain control in all areas of his life, avoiding vulnerability at all costs. This is clear in how Buddy behaves—he doesn’t want to feel weak or exposed, and he tends to assert his dominance to protect himself from that vulnerability.

Buddy’s confidence and smugness can come off as intense at times, but it’s all part of his desire to remain in control and avoid situations that make him feel powerless.

[bengiyo]

My Love Mix Up TH: The Adaptation Changes to the Class Play

I’m generally in favor of the cross-cultural adaptations of BL. I am on record saying plainly that I think the Thai version of Cherry Magic is the best version of the story we’ve seen brought to screen. However, I do not like what’s happening in My Love Mix Up and I need to talk about it. I’ve been thinking about the class play storyline since last Friday, and it bothers me because they fundamentally changed the messaging and themes around that sequence. 

I want to take the time to compare and contrast both versions of this because after two episodes, the Thai version is basically in the same place as the beginning of episode 3 of the Japanese live action.

Kieta Hatsukoi’s Take

We begin episode 2 with Aoki sorting the love triangle he’s suddenly found himself in, before committing to helping Hashimoto connect with Ida even if he confused Ida by claiming the eraser was his.

Seeing an opportunity, Aoki accidentally signs himself up alongside Ida to help on stage setup.

Before our complications ensue, there’s only 1 day left before they put on the show.

I’ll skip over the portion where they’re working on the stage stuff for brevity.

The next day, the leads reveal that they can’t perform because they got sick, and so the class has to scramble, and pragmatically decide that the stage design team doesn’t have any other responsibilities during the play and have the time to fill in the role. The class suggests Hashimoto but she’s clearly nervous.

Aoki, wanting to help her, volunteers to play Cinderella.

The class decides to let him play and agrees as a group.

Aida suggests Ida play the prince.

The class rallies to prep cue cards quickly so they can still do the play.

Aoki is not a great actor, but he commits to the bit and is willing to wear the drag required for the role.

Ida is also not that great of an actor, but he looks good!

After the play, Aoki has changed back into his uniform during the class party, but Ida is still taking pictures with people at the class’s request.

The class president starts a celebration of Aoki and Ida, but then the jokes take a turn and make Aoki uncomfortable.

The teacher, Aida, and Ida are uncomfortable about this.

Ida chides the class for teasing Aoki, reminds them that he did it for their sake, and leaves an uncomfortable silence. Aoki breaks the tension with a joke about himself, and the teacher shuffles the class out.

Finally, Ida checks on Aoki.

The My Love Mix Up TH Take

The Thai version opens directly with the class play organization before doing a simplified voiceover to check in with Atom, who says he wants to help them.

I’ll skip over the same stage prep stuff, and the leads calling in. The class suggests Mudmee play the role, but she is nervous about being on stage.

Atom tries to volunteer instead, and is immediately shot down for gendered reasons by the female director and then the rest of the class.

Half encourages them to select Kongthap as the Prince because he says Atom gets tongue-tied when he’s nervous.

We aren’t given a sense of the timeline, but it feels like they have a few days to work on this since Mudmee leaves rehearsal. 

Atom then stays behind to help Kongthap on his practice.

The day of the play, Mudmee’s stage fright gets the better of her, and so Atom takes the stage on his own.

The class rolls with it, and then two fill-in actors (one of which wasn’t recommended as an option because he gets too nervous and tongue tied) go on to nail three musical numbers that also include a dance.

Afterwards, Mudmee apologizes, and the female director says it was the class’s fault, so now is the time to celebrate.

Next, three boys begin to tease Atom in a most homophobic way.

Atom is uncomfortable, and Kongthap gets angry on Atom’s behalf. He chides them for teasing Atom who saved the class.

The female director then comes back, tells Kongthap he spoke well, and then kicks out the other three boys and their ‘toxic masculinity.’ 

After an awkward pause, the class is shuffled out for fireworks by another student, and Atom checks on Kongthap.

Why Point Out These Changes?

The reason why I’m so bothered about these changes is that it removes the collective responsibility from the story. 

In the Japanese version, Aoki volunteers and the class agrees to support his choice. It then requires them to work together to scramble and make sure the play is as much of a success as it can be with two unprepared actors in the lead roles. It also means that Aoki and Ida aren’t actually great at either role, but Ida is attractive in his prince outfit, while Aoki is funny in his drag. The play is a success! However, it is also the class that begins to collectively tease Aoki in a somewhat homophobic way. The teacher looks on, uncertain, and it’s Ida who chides the class for giving Aoki a hard time after doing something to help them. 

The fact that the whole class signed on to make Aoki Cinderella, and then teased him for playing an apparent queer role as a class matters! This works as a commentary about how we don’t mind enjoying queerness as entertainment, but then make fun of people for actually doing it. This lands especially hard because Aoki did this for Hashimoto’s sake, and he’s going through his own queer awakening. The role of collective homophobia, and how he is incapable of really hiding anything about himself, is a critical piece of the story to come. 

In the Thai version, the class explicitly rejects Atom and highlights his faults for why he isn’t a good choice. He then goes on to defy them, I guess, to help Mudmee anyway? It ends up not working for me because I don’t see what the point of Atom being secretly good at acting and singing contributes here when the play is just an activity they’re doing for their class. I don’t know what role exceptionalism is meant to play here because he ends up defying the class to help them instead. Moreover, the play has been the most well-funded and stylish part of the show so far, and felt out of place for a small class production.

Perhaps I’m overthinking it. Because these are the leads from My School President, and GMMTV has concerts to put on, they need to amplify these school play scenes to sell tickets later. Is the brand management around Fourth the reason they didn’t have the class sign on because then they would have to put him in drag? Director Au was an AD and performer on Bad Buddy where they decided to do an m/m version of a classic play. Why not do the same here?

I also find it disingenuous that the female director is the first person to shoot down Atom for not being a girl as Cinderella, and then is the one to kick out the three boys for their apparent toxic masculinity. I think by making it Atom’s choice to take the stage, the boys’ choice to troll Atom, and the director’s choice to get rid of them, it reduces the social politics of socialized homophobia down to an individual problem. By removing the collective role of the class in this situation, the show loses the potency of the role we all play in the consumption and production of queer media and the tension between wanting these shows for entertainment while holding homophobic viewpoints. 

I have other issues with this episode as an adaptation, but I wanted to focus on the big writing changes here. It’s frustrating because in a side by side comparison, the Thai show hits many of the same moments as the source material and the Japanese live action, but then it goes on to change and add things that generally confuse the story, and I wonder if that’s what contributed to some of the confusion in scenes I’m seeing from the actors in some of the new content (who I actually think are doing fine to good with the content). I also worry that removing some of the collectivist messaging and the supervisory role of a teacher is going to weaken a key storyline that should be coming in the future. 

[gimmiesophiebaek]

From The Glass Slipper to An Offer: an ode to Cinderella (long version)

I remember as a young girl, there were four movies that I would watch on repeat to the point I wear off the VCR. Hey it’s the 80s! It was Grease, La Bamba, and two versions of Cinderella: the 1950 Disney animated classic, and the 1965 Rodgers and Hammerstein adaptation. I would sing Jacques’ Cinderelly song as much as I laugh over the way the Prince shouts “silence” just as he realized he found Cinderella before putting the shoe on. 

This year will mark the 75th anniversary of the 1950 animated version. With the anticipation of Season 4 of Bridgerton, I decided to give a nice homage to all the Cinderellas that came before Sophie Baek. Some are well-known and stay true to the story while others stray to make it unique. But one thing for sure: Cinderella movies are always great to watch because in the end, the underdog gets her happy ending. 

(Note: I am going to leave out the 1950 version and any animated adaptions, so don’t hate me)

The Glass Slipper (1955)

Couple: Ella (Leslie Caron) and Prince Charles (Michael Wilding, RIP)

Where to watch: YouTube Premium 

We have outcast but proud Ella being charmed by Charles disguised as a palace chef. And that’s all before the ball even happened. But the kiss Charles gave to Ella after teaching her to dance and handing the invite shook her to the core. Take away all the ballet parts, its a cute movie for the era. 

Rodgers & Hammerstein’s Cinderella (1957, 1965, and 1997)

Couples  1957: Cinderella (Julie Andrews) and Prince Christopher (Jon Cypher)

1965: Cinderella (Lesley Ann Warren) and Prince Christoper (Stuart Damon, RIP)

1997: Cinderella (Brandy Norwood) and Prince Christopher (Paolo Montaban)

Where to watch: YouTube (1957), Disney Plus (1965 and 1997)

Ten minutes ago, I was planning my lunch, not hearing the sweetest sounds or that the Prince is giving a ball. So in my own little corner, I’m writing my love for all three versions of R&H’s adaptation. 

For the original, it was unprecedented at the time as it was completely live and worked out beautifully. The world got to know Julie Andrews prior to being Mary Poppins, Maria von Trapp, Queen Clarice, and the voice of Lady Whistledown and were so glad not only she’s still with us but still within the Bridgerton family. I’m manifesting an actual cameo from her in Season 4. Please make it happen, Netflix!

For the version I grew up with, I love the meet-cute of her offering Chris well water while thinking he’s just fighting dragons, rescuing maidens, and finding his true love. It was a nice call back in the end when he figured out who she was before putting on the slipper. But the best part is when Cinderella’s stepmom tries to stop her, he shouts out “SILENCE!” Bonus that the legendary Ginger Rodgers is the Queen in this. 

And then there’s the Brandy version: it exceeded expectations, from the colorblind casting to Brandy and Paolo’s chemistry, to Bernadette Peters being delish as the stepmom. 

Three Wishes For Cinderella (1973 Czech version and 2021 Norwegian version)

Couples:  1973: Popelka (Libuše Šafránková, RIP) and The Prince (Pavel Trávníček)

2021: Askepott (Astrid Smeplass) and The Prince (Cengiz Al)

Where to watch: YouTube (Czech with English subs, free), Amazon Prime Video (Norwegian with English dub)

The cheeks are soiled with ashes, but a chimney sweep it is not.

A hat with feathers, the crossbow over the shoulder, but the a hunter it is not.

A silver dress with train at a ball, but a princess it is not.

Figure this out, and you will get yourself a himbo Bohemian or Nordic prince! I can see why this is a Christmas classic in Eastern Europe. Though I am partial to the Norwegian version as our heroine saved the Prince from imminent doom.  

The Slipper and The Rose (1976)

Couple: Cinderella (Gemma Craven) and Prince Edward of Euphrania (Richard Chamberlain)

Where to watch: Peacock and Amazon Prime Video

While it mostly stays true to the source material, the stakes are higher in this musical as our Prince must marry someone from a neighboring kingdom to form an alliance and be "protocoligorically correct”. But true love wins in the end as Cinderella crashes the wedding, no matter how much the King and Lord Chamberlain can bribe her (with regret) in exile. 

Cindy (1978)

Couple: Cindy (Charlayne Woodard), Captain Joe Prince (Clifton Davis), and Michael (Cleavant Derricks)

Where to watch: YouTube (free)

Before Brandy, there’s Charlayne! In this late 70s African-American adaptation set in post-WW2 Harlem, Cindy is headstrong but kind (and really good at double-dutch) when she gets her life turned upside down when she meets a captain with the help (and dismay) of her draft-dodging neighbor. But sometimes the prince doesn’t get the girl as our Cinderella follows her heart and would rather be poor and happy with a maturing Michael.

Fairie Tale Theatre’s Cinderella (1985)

Couple: Cinderella (Jennifer Beals) and Prince Henry (Matthew Broderick)

Where to watch: YouTube (free)

55 minutes and no sign of Cinderella breaking into a flash dance for the ages or the Prince breaking into song that causes the kingdom to twist and shout? I demand my time back!!! Just kidding. It’s a nice faithful adaptation for less than an hour of your time!

Ever After (1998)

Couple: Danielle de Barbarac (Drew Barrymore) and Prince Henry of France (Dougray Scott)

Where to watch: Disney Plus 

The definitive millennial Cinderella story! Throwing apples at the Prince as a meet-cute? Check. Quoting Utopia under a disguise to save an elderly servant? Check. Carrying the Prince to prove to the gypsies? Check. Da Vinci as your fairy godparent? Massive check. And that’s before hitting the buffet table because you’re here for the food! And it’s the ultimate comeuppance towards the Baroness and her awful daughter Marguerite? Chef’s kiss. No wonder why everyone has this as at least their Top 3 movie adaptations ever. 

Cinderella (2000)

Couple: Zezolla (Marcella Pluckett) and Prince Valiant (Gideon Turner)

Where to watch: Amazon Prime Video

One word to describe it: BIZZARE!  While it stays true to the source material, the godmother is now portrayed by Queen Mab (Jane Birkin), the glass slippers are now made out of flower petals, and the Prince’s song is just… enjoy it for the mayhem! 

Maid In Manhattan (2002)

Couple: Marisa Ventura (Jennifer Lopez) and Chris Marshall (Ralph Fiennes)

Where To Watch: Netflix 

Yes, even JLo had her Cinderella moment. But she and future Oscar™️ winner Ralph Fiennes got some chemistry here in a case of mistaken identity and class divide. Plus, the movie did spawn a Telemundo adaptation AND Stanley Tucci, Tyler Posey, and Natasha Richardson (RIP) are in this movie. 

A Cinderella Story (2004)

Couple: Samantha Montgomery  (Hillary Duff) and Austin Ames (Chad Michael Murray)

Where to watch: Roku Channel

Diner Girl + Quarterback who wants to go to Princeton + lost cell phone + Jennifer Coolege as your stepmom? It’s a nice retelling in drought stricken LA. 

Ella Enchanted (2004)

Couple: Ella of Frell (Anne Hathaway) and Prince Charmont of Lamia (Hugh Dancy)

Where to watch: Paramount Plus

This takes the spirit of the story and shakes things up. Right from the beginning, it mixed in with Sleeping Beauty as Ella being “cursed” with obedience. Plus, our heroine and prince goes on a journey (along with a talking magic book and an elf) to reverse the curse like it’s The Wizard of Oz. Funny thing is this movie had Ella singing “Somebody To Love” and it won’t be the last time the song would be used for a Cinderella adaptation. 

The “A Cinderella Story” franchise (2008-2021)

Couples: 

Another Cinderella Story (2008): Mary Santiago (Selena Gomez) and Joey Parker (Drew Seeley)

Once Upon A Song (2011): Katie Gibbs (Lucy Hale) and Luke Morgan (Freddie Stroma… yep Prince Friedrich was the “Prince” here)

If The Shoe Fits (2016): Tessa Golding (Sofia Carson) and Reed West (Thomas Law)

Christmas Wish (2019): Kat Decker (Laura Marano) and Nick Wintergarden (Gregg Sulkin)

Starstruck (2021): Finley Tremaine (Bailee Madison) and Jackson Stone (Michael Evans Behling)

Where to watch: Max (2021), YouTube Premium (2008, 2011, 2015, 2019)

So while Sam and Austin drove away to Princeton, we were fed with five different Cinderella stories. We see our heroine dance, exposed as the real singer, being the star of the musical as herself, and giving acting a shot. Cinderella is a mechanic, a farm girl, and worked at a Christmas amusement park. But all end the same and happy! However, if Jane Lynch was my stepmom, I would be scared. No wonder why her next big role was Sue in Glee. 

Cenerentola (2011)

Couple: Aurora DeLuca (Vanessa Hessler) and Sebastian von Ausperg (Flavio Parenti)

Where to watch: Roku Channel

While most Cinderellas meet their Prince at adulthood, Aurora and Sebastian meet on the best (and her worst) day of Aurora’s life. She dreams of being a concert pianist like her father while he loves writing short stories. Eight years later and Aurora is at the mercy of her conniving stepmom in her own home turned hotel while Sebastian is now the heir (after his older brother dies) and part of a bargaining chip to close the deal by dating the daughter of their business partner. But with the help of Aurora’s long lost American grandma and support of the hotel staff, the childhood sweethearts found their way to each other. And the added bonus: she was able to resume her dreams of being a concert pianist. Double win for Aurora! 

Into The Woods (2014)

Couple: Cinderella (Anna Kendrick) and The Prince (Chris Pine)

Where to watch: Disney Plus

While this is just a fraction of the whole musical, what’s memorable about it is how the Prince is actually a douche. With that said, who hasn’t seen the “Agony” scene on repeat and laughed? 

Cinderella (2021)

Couple: Ella (Camila Cabello) and Prince Robert (Nicholas Galitzine)

Changes to the story: Amazon Prime Video

Before becoming a British prince in love with the first son of the US or a boy bander wooing a single mom who in another life was Ella of Frell, Nicholas Galitzine is the heir to the throne (and belts “Somebody To Love”) and falls in love with our dress designing heroine while dueting to Ed Sheeran. And to think the Prince’s mom was the aforementioned Ella of Frell’s fairy/caretaker in another life.

So now we’re up to Benedict and Sophie in 2025 (or 2026, but I’m still hoping for this year) and while their story starts as a Cinderella, we’re in for a treat full of drama, laughs, and true love! And wherever it lands within the Cinderellas of the past, it promises to be a memorable one.

[tending-the-hearth]

love love love when a cinderella adaptation redeems one of the stepsisters and she and cinderella turn out to actually be best friends and the stepsister gets her own kind of happy ending

[smolvenger]

The Twelfth Night Ball, A Cinderella Story (Henry V x fem! Reader one-shot)

Summary: As a lady turned servant, every day you survive under immense cruelty. Then one day, it is declared the King of England, Henry V, is throwing a ball, looking for a potential bride...

Word Count: 7535 (have snackies)

Warnings: Physical and verbal abuse from the "stepfamily" (this is a Cinderella story after all). Some curse words here and there. Grammar and spelling mistakes that slip past my radar. LOTS of angst, but it becomes tooth-rotting fluff.

A/N: Happy Holiday Season! This was gonna be a Christmas ball but things got busy, so it's Twelfth Night (that was a bigger deal back then, anyway, ehehhe) but I hope you enjoy this any time of the year! Comments, dms, reblogs, and comments about my work are always appreciated!

A03//My Ko-Fi//My Etsy Shop//Masterlist//Wattpad

Taglist: @asgards-princess-of-mischief @jennyggggrrr @five-miles-over @fictive-sl0th @ladycamillewrites @villainousshakespeare @holdmytesseract @eleniblue @twhxhck @lokisgoodgirl @lovelysizzlingbluebird @raqnarokr @holymultiplefandomsbatman @michelleleewise @wolfsmom1 @cheekyscamp @mochie85 @fandxmslxt69 @skittslackoffilter @mischief2sarawr @loz-3 @muddyorbsblr

Once upon a time, you were a little child delivered to a house of strangers. Your dear parents, an established lord and lady, both died of a deadly illness that spread. You were separated from them- sparing your life. But without even a final goodbye. 

It the Lord and Lady Brentford who took you in, for they were distant relatives. You could still feel the guard's hand, much bigger than your own, support you when the carriage door opened before the Brentford Manor. You stepped out of the carriage and onto their grounds. They looked at you with polite smiles…but nothing warm behind their eyes as they led you in.

It began small. At first, they were merely strict in their lessons with you. As any daughter of a lord. You tried to adapt, to please them. As much as your little eight-year-old self could allow. Even at your best behavior, they always reminded you of one thing: you were mere charity. Their one daughter you had never met. She was sent off to stay in a convent for her education.

It was when you were thirteen that one day, they requested you to move into a shabbier room. The one you slept in had to be used for guests.

Then they kept insisting the servants needed help with things. Mending, cracking eggs, a stone on the floor that needed scrubbing. You wanted to help, to please them. So you said yes.

Then, you realized one day your pretty dresses were gone. They said that what was left of your family's fortune had been spent already. You had to make ends meet, they said, by selling what nice ones you had. Leaving you with only servants' clothes.

Then, finally, when you were fourteen, you went down after helping cook breakfast. To eat with them…and there were only two chairs at the table.

“Where may I…I sit?” you asked.

The Lord glared up at you.

“You do not eat with us.”

“But…you are my guardians,” you replied.

He snorted. “You. Family?”

His eyes were cold.

“You were never our family, girl,” Lady Brentford agreed.

The stomach within you dropped. Hot tears welled up.

“Bring us our bread, girl.” she ordered.

“If…If my father was alive, he-”

Lord Brentford stood up.

“He is dead. Are you going to keep talking or should I get the horsewhip to get you to shut up? Bring. Us. Our. Meal.”

You went back, sobbing hot tears. Then delivered their meal to them. Banished. No longer as a member of the family. Or of any family that wanted you, loved you. You were unloved. Unwanted.

The Lord and Lady threatened to throw you out if you ran away resisted, or fought back. To beg on the streets. Or whore to survive. So you were stuck as a servant.

And so your life as a servant began for years here. Some of them gaped at first- the Lady Y/L/N turned into a drudgery maid.  They pitied you. They did not laugh at you for not knowing initially how to cook an egg but would show you how. They let you hug them and cry and rage. Only in private. For all knew how the Lord and Lady reacted to defiance. You got to know them and talk to them, It was Miss Anne who would give you oranges when they were in season to bite into. It was Mr. Page who would show you the secret bird's nest when you had to gather the apples in the orchard. Their kindness was appreciated. 

There was one other consolation in your life- the Brentford’s only daughter, Jane. The time arrived when her long stay at the convent for her education was done. She was considered of age to be married and she moved back. A woman of your age, your very height and size but with pale skin, long chestnut hair, and bright green eyes.

After Jane got home, you brought her some food to her room but found she wasn’t there. You saw her outside in the garden climbing an apple tree in bloom to gather the fruit and flowers. As she stepped on one branch, it broke beneath her weight. With a scream she fell a great distance, breaking her leg. At once, you alerted the servants and helped her in. It was you who stayed by her side, nursing her until she healed. 

Since then, a friendship began between you both. 

Lady Jane was the sort who became a very different person than her parents. She was kind.  If you brought something a little late, she gave you no chiding. Jane was always getting into some sort of mischief, for sometimes she would scrape her hand or burn something, and you would patch her up.

 You became each other’s confidantes…and then she considered you not as a servant, but an equal. You were sometimes tasked to be with her, and those were the easiest- delivering her correspondence two and fro, brushing her hair, and dressing her. Even picking flowers for her room to cheer her. Jane loved animals and her pride and joy was her mare, Psyche, who you would be tasked to feed and brush. 

It was only a shame she had no interest in marriage or even romance. If only she got married so you could become her chambermaid and live far away from this place! But no. She refused to be forced into a marriage. You were amazed at her bravery to refuse her parents boldly. However, she was their natural daughter and a Lady. She had the privilege to rebel. You did not.

Sometimes you wished you were her, you had to admit. Jane was something of a recluse, not wanting to go to balls and parties and be out in society. Her beautiful dresses only caught her mild interest, preferring riding her mare, her books, climbing trees, and talking with the servants despite her parent's protests. 

You wished she’d say yes to one ball- how beautiful it must be to wear a gown and dance the dances you were taught when your parents lived! And to maybe have men show interest in you and show up to see you- to be considered and wanted for marriage by some good-looking, nice lord!

But…what money your family left for your dowry was left to the Brentfords….who naturally spent it for their desires until you had none left. Without even a dowry, you would be considered useless for any Lord’s bride. 

Maybe not marriage…but perhaps, as you looked at the married couple kept as servants here- Mr. and Mrs. Kent. Saw them hold hands and exchange small kisses in hallways and smile…love. To be loved. To fall in love. To find romance. Somehow. Something you had never heard, experienced, and could only yearn for in your deepest heart…perhaps there was someone out there who could love you…

But perhaps that was only for daydreams and for sad romances with Knights pining for already married ladies. Much less a scullery maid. 

❛ ━━━━━━･❪ ❁ ❫ ･━━━━━━ ❜

One December morning, you spent one of the few hours you had alone walking in the woods. You reached the clearing of a field not far away. The Natural spot was so peaceful. No Lord or Lady Brentford. No threats. No names. Just the early winter morning. 

You shivered in your dress. It was all you had on you.

That morning, you awoke to see the Lady Brentford. You did not mend her skirts to her liking. So she went to your room and in revenge, ripped apart your only cloak. She tossed it at you.

“There. Until you learn how to mend clothes the right way, stupid girl.”

You only held the torn cloak, tears pouring down over it. 

The sun was bright, and the grass frosted. The world was brisk and cold, but it got warm after exercise. The sun was bright. Your breath comes out in puffs of smoke.

Suddenly, you heard horse hooves. Turning your head, you jumped to see a great white stallion galloping and on top of it was a man in a red cloak. You took a few steps in retreat.

Before you could have a good look at the rider, the horse suddenly stopped and bucked, his front hooves in the air with a whinny. It was so sudden, that with a masculine shout, his rider fell off of his horse onto the grass.

You let out a gasp-was he injured? Yes, this was a stranger. And a man. And you were alone. But he could use the help! And if he was injured, he couldn’t hurt you!

“Sir, sir, are you hurt?” you cried, picking up your skirt to go there to see him.

Up got the man with a small grunt. 

You finally saw his face and you felt yourself stiffen. 

He was incredibly handsome. Young with high cheekbones and a high forehead. Auburn curls and trim facial hair with soft blue eyes and ivory skin. Tall and lean yet muscular and broad. Virile and powerful, but an air of charm, and elegance to him, though you could not name why you could tell.

 He managed to get up and wipe off his dirt on him, looking at you. He smiled, hands up in pace.

“I am alright! I’ve suffered worse!” he assured you. 

“Are you sure?” you asked.

“Of course, my lady!” he replied, bowing his head.

You felt yourself go warm. You had not been called “my lady” in years. Much less by a handsome man!

You then saw the horse a small distance away. Trotting off. The man whistled, but the horse did not respond.

You knew you had to feed Psyche later today. Her carrots were in your pocket. You pulled one out and lured it over. Surely, the white stallion walked over. Once you fed him the carrot, you pulled him by the reigns over to the man.

“Thank you- he’s not used to me. A rather naughty fellow, but he shall be my good friend long enough,” the man laughed.

“If you give him enough treats, I’m sure he will be your friend quickly.”

 “Thank you, my lady, you’re very kind. Do you need assistance getting home?” he asked.

For you to go home with a man?! They would think something less than chaste was happening out there. Especially since you were both a woman and a servant. Whores and thieves, that was what all thought maids to be.

“No thank you, I do not live too far,” you explained.

The sun went behind a cloud, giving it a slight chill. Though there was concern on his handsome face. 

“But without a cloak?” he asked, tilting his head.

“I…I have no cloak I may use and I wanted to walk. I could brave the cold. Once one moves about, it does get warm,” you told him. 

“Here, my lady…”

He took off his red cloak and put it over you You let out a small gasp. Feeling his hands brush past your shoulders as he sealed the clasp. It was so large it felt warm on you- the heat of his body and his scent still on it.

“Sir- this is too much!” you gasped.

“No, you may have it. I have a dozen others and you have none,” he refused, a kind smile on his face.

It was like an embrace. You touched the material, feeling it in your hands. It was high-quality cloth, likely expensive from the bright red. He must be some great lord who happened to ride by.

In his nice red leather jacket (it hugged his lean but broad form very nicely, you noted, feeling a sudden heat in you) he swung himself back up on the white stallion.

“Thank you, dear lady. For your concern to me.”

“And thank you, my lord, for your generous gift,” you replied. 

“Farewell for now.”

He smiled at you, nodding his head, and then he rode off. You couldn’t help but watch him as he left.

You burst into giggles as you walked through the forest, feeling as if you could float from such an encounter with such a handsome man. For one brief moment, the love story you craved had happened. You drew the cloak around you. Your mind racing with fantasies of an actual embrace from him. Or even more- if he kissed you!

You returned very warm. You folded the cloak and set it down among your things, even the torn-up cloak. You smiled- always keeping that memory in your heart. You would make sure to guard it carefully. But even if the Brentfords tore it up, they could never tear up your memory, your moment, your encounter with this dream of a man. Or your hope that you would someday see him again. 

❛ ━━━━━━･❪ ❁ ❫ ･━━━━━━ ❜

The next day, amidst the fasting and preparations for the Christmastide season, there was a messenger who arrived at the door. He was dressed in fine reds and handed one male servant the letter. Up the servant came as you attended to the Brentfords. Eating their breakfast of simpler fare than they would like.

The servant looked flushed and wide-eyed. He held up the letter, declaring “My lord- it is an invitation from the king!” 

There were gasps around the table. From none other than the king! The newly crowned Henry the Fifth. Lady Brentford grabbed it and opened it, reading it aloud.

“We do cordially invite all eligible, unmarried ladies of this household to attend the ball hosted by the king on Twelfth Night. Each lady shall be introduced to his majesty the king in addition to a night of dancing, feasting, and frivolity.” 

Eyes went wide. You felt your heart begin to pound in your chest. 

“Oh! A ball! How wonderful!” cried the Lady Brentford.

“To have him write us alone is an honor!” agreed the Lord. Though their eyes turned greedily to their daughter. Lady Jane stopped eating her bread, it nearly dropped on her plate. 

You looked up from where you poured more drink into Jane’s cup.

“If he is asking to be introduced to eligible maidens...it means only one thing…” Jane began. Her face turned white, her appetite gone. 

“He is looking for a bride! Oh, could you imagine? Our Jane- Wife to the King and Queen of England?”

Jane gripped the edges of the table.

“Mother, father, please- I don’t want to go. Please. There are plenty of other women who would be more happy to be there than me!  I don’t want to be sold like cattle to a man I don’t know, please! And I hear he was a drunkard and a thief- I don’t want to marry a man like that, please!” Jane pleaded.

“And risk losing the chance to become queen? Besides, we hear he’s a young, comely man, it could be worse! There are lots of old men we could consider marrying you off to! You must go!” argued Lord Brentford

You stepped forward.

“What if…I went instead of Jane?” you asked meekly.

Eyes turned to you, but you stood your ground. 

“It said all eligible, unmarried ladies. I shall go in Jane’s place, so she doesn’t have to,” you said, a sudden rush of boldness in you. Perhaps it was the incident with the man the other day. You always wanted to go to a ball. And to go to a royal one was an honor.

Their heads turned.

“It shall break sumptuary laws for a maid to dress in finery. They could fine you. Or worse.” sneered Lord Brentworth.

“But I am Lady Y/L/N, like my mother was before me,” you blurted.

The Lord Brentford got up and slapped you hard across the face. 

Your eyes brimmed with tears, feeling the sting of the impact. 

“You are our servant and you will remember your place! And will hold your tongue and stay where you are, impertinent, foolish girl!”

You held your cheek, keeping your eyes down. The Lord continued.

“To think. You. A king’s bride- a queen? Yes, women like you were offered to him as whores, but I doubt he’d even want your filth in his bed, much less as his wife. You’d be lucky to polish his boots.”

They sat down, glaring at you.

“Now, there is laundry to be finished. And we have a ball to prepare Jane for- you must do it.”

You turned away, so they wouldn’t see you. You reached the smaller room for laundry. Where you could finally crumple to the ground and sob. 

❛ ━━━━━━･❪ ❁ ❫ ･━━━━━━ ❜

Jane’s dress purchased for the ball was the most beautiful thing you had ever seen. 

It was a creamy white with pearl embellishments. Richly made, beautiful. It shimmered in the light and seemed to glow when it became dark. Everyone smiled big at it as it was brought up. But the envy and greed in your heart stirred, making you feel heavy and bitter. Sometimes, You forced your eyes away from it. 

Christmastide arrived. With it numerous feasts. Some drinking and exchanging of gifts. The Lord and Lady were in sour moods but only softened when discussing their ambitions for their reluctant daughter. 

Before you knew it, the new year arrived and the fifth of January. The day before the ball. 

Jane looked at the dress laid out on her bed. You had merely sat on a chair behind her, mending her stockings. Everything in you not to cry.

“It is beautiful, I will admit. But…I have met cats more pleasant to talk to than some of the lords that will be there,” she sighed. “I love gossip and a nice meal as much as anyone else, but…how horrid I am at dancing! I know I will step on all of my poor partner's toes tomorrow night!”

Finally overcome, you set the stockings down.

“Jane, how can you say such things? Don’t you realize how fortunate you are?! Just merely go and enjoy yourself and think of your blessings!��� you blurted out. 

She turned to you. You were tearing up.

“I’m so sorry, I’ll be quiet now-” you apologized.

“Y/N, you know I’m not my parents. I won’t punish you for being honest. What is it? You’re crying, tell me!” she asked. She walked away from you and knelt as you sat.

She gave you a handkerchief and you began to wipe away your tears. Her eyes looked concerned. 

“You’ll laugh at me,” you mused.

“I will not. Tell me what troubles you,” she offered. 

You gripped the handkerchief in your hands, squeezing it for support as you began to confess.

“I wish I could be you. To go to a ball and to meet a king and dance. To feel equal to the other ladies who get to be introduced to him. Yes, becoming queen does sound like a nice dream. But, it’s not just that…I just…always wanted to try a pretty dress and not have to spend my nights working. If my parents lived, I would have experienced one. If the Lord and Lady weren’t who they are, I would have, but now……”

She hugged you in comfort.

“Oh, I’m a selfish being, I am! I am so sorry, poor Y/N! I’ll be more careful, I swear it!”

You hugged her back. Then she looked at the dress, then you. There was a look in her face- a light in her eyes. One that could only be when she had an idea.

“Jane…what are you thinking of?” you asked.

“What if…you were the one to go? Wear the dress and attend the party? ” she asked.

“What! What if- what if they catch us? We’ll get in trouble! There will be other balls!" you cried.

“There won’t be other royal balls. And I know how every servant hates my parent and they love you! Please, we can trust them!”

“But…will they watch?”

“My mother and father are rather fond of strong wine on Twelfth Night….”

You felt your heart race.

“You said you always wanted to. And you should go. We’ll switch clothes in case they wake up! They’ll be too drunk anyway. And you know it is a royal carriage they are lending us with a royal driver and footman- they won’t know you! Would you like that?” she continued.

You paused, your heart racing. 

“You are a lady- you must accept it. Here- we shall keep it between us. We shall ask only a few servants…you will go to accompany me and wait- then we shall switch clothes. I shall be the maid to attend on you and you the lady! That way, if Mother and Father arrive in my room, they’ll see me gone and won’t suspect a thing!”

She was getting more excited, pacing about and talking. But then she turned to you.

“But…that is only if you want. It’s just an idea," Jane offered.

Your heart beat hard. A chance. It made you scared. You could get in trouble…but you never wanted to so badly to do it. You would go. Or die trying. At least once, you would fight for something you wanted.

“Jane, I accept your plan. Let’s make it happen.”

❛ ━━━━━━･❪ ❁ ❫ ･━━━━━━ ❜

At last, it was Twelfth Night finally arrived. You and the other servants managed to get the Lord and Lady Brentford so drunk, they were laughing and red-faced. Jane was presented in her pretty dress and curtsied for their applause. Then they had to go to bed to sleep it off. It would be minutes until the carriage arrived.

Jane grabbed your hand. 

“Now, haste!” she hissed.

You raced to her room. She took off the dress, the servants all helping. She got into your plain dress and apron easily. You were given her fine necklace and her rings. Her little silvery slippers fit your feet perfectly. Then, at last, the dress was slipped over your head and sealed. It adjusts perfectly to your body. There was a soft gasp from one servant as they looked at you. Their eyes were made big and there were smiles.

“Is it…bad?” you asked.

“No…look,” Jabe offered, gesturing to the mirror in her room.

You hardly recognized the reflection. 

You were radiant- the way its color complimented you. It brought out your eyes and your skin seemed to glow almost. The gems sparkled as if they were stars adorned on your chest and fingers. 

“I…I look…” you muttered.

“I’ll say it- you look beautiful,” Jane said.

“Fie, Lady Y/L/N looks quite like a princess! They’ll think she’s sailed from France and my, won’t that be something!” agreed one servant. 

The carriage arrived. You both stepped forward. A footman in his finest gave came forth and helped you both into the carriage- the Lady and her maid. Then off it went. There was snow on the ground that shone in the darkness as it went forth. 

The stone castle arrived. You both were helped off. You could hardly believe it. It was at least three times the size of the Brentford Manor! Picking up your skirt, you went with Jane behind you.

There was already laughter and music. You could smell spices that made your mouth water.

You entered forth, seeing the torches lit around. There was a warm orange light. Part of the hall was cleared so couples could dance. Chatter erupted and wine flowed. You even felt eyes on you, admiring you in your dress. Though, you saw a line of women before one end of the room. The women to be introduced to the king.

“Lie to him, tell him you’re Lady Brentford!” advised Jane.

“I cannot lie to the king. Not without getting into trouble. I’ll only tell him my family name.” you said.

“S’blood, you are right there…best of luck!” she wished as she headed to help herself to the feast.

So all came forward to be introduced. Each lady. You all were smiling. You managed to chat with several by you. All excited and trying to suppress giggling. But it was brief, as there were many women. Apparently, according to them, you just told him your name, curtsied, and perhaps exchanged a sentence or two. Then you were dismissed for the next woman. Nothing more, nothing less.  The line went lower- you were happy to chat with them all. But all stilled as they got closer to the curtsy.

Then, before you knew it, it was down to the last three ladies before you. Then two. Then the last one turned and you faced the King of England, Scotland, Ireland, and Wales. 

There, on the throne, sat the man who fell from his horse.

The king?! The king!? The entire time it was the king! Oh God’s blood! He was the king! Harry of England! I have a cloak from none other than the king!  You panicked internally. Though your body tightened.

 Your skin tingled and a coldness hit your stomach when you saw him. Your hands were suddenly clammy. The wind was out of you.

Henry the Fifth of England sat rigid. You saw his jaw drop a little and his face go pale. He too was in surprise. 

Then he let out a small half laugh, a shaky smile growing on his face.

You gathered yourself together. Then, taking in a breath to ground yourself, you announced.

“I am Lady Y/F/N Y/L/N, your highness,” you introduced. Dipping into a curtsy.

He gestured his hand up to stop you from leaving. Your eyes fluttered down, folding your hands properly. Your heart hammered as he walked up, taking your chin and tilting it up. Your heart beat even harder. It was a miracle you were still standing.

He smiled, almost ironically. 

“How are you, Lady Y/L/N?” he asked. 

“Well, your grace.” you replied.

“Do you have a partner for the next dance?” he asked.

“No, your grace.”

“I believe I have sat long enough. I would like a dance with you, my lady, if you will have me, ” he offered. He extended his hand to you.

“You may, my lord,” you replied. Despite the slight trepidation, you accepted it.

He smiled at you, leading you down to the floor. You heard gasps, whispers, and saw many eyes staring. Some of the women from the line turning red as strawberries, fumes practically blaring out at them. You kept your eyes away from it all. Only at the floor, then up to him.

“I must warn you, I have no strength in dancing,” he warned you.

“Then perhaps this is only a practice dance, your grace,” you replied.

The couples went into lines. You curtsied and bowed. Took hands, walking back and forth. You realized Henry sometimes mixed up counts, but he was definitely not the worst. You smiled at him.

“How is your stallion, my lord?” you asked.

“He listens to me more. Would you like to know why?” he asked.

“Why?” 

He turned to you in the dance.

“He cannot resist being given food. And that I learned from a certain lady I met,” he answered.

You grinned up at him. The dance continued. You found your eyes could not lower from his. Yet you knew the steps, knew every one. You were almost floating. As he touched your hand and would lead you, it seemed he was getting better with each other count of the music. You could feel how soft his hands were, how warm. Sense his presence, his steps. Feel the tingles from his touch, from when he looked at you. For a while, it was as if you were the only ones dancing. 

Before you knew it, your dance with the king ended. He bowed and you curtsied. He then turned to line of women.

“I shall meet all of you, and shall spare a few dances, sweet, fair ladies,” he promised.

That seemed to appease them- you couldn’t blame them in the slightest.

Jane was already there to fetch you food and drinks now that she was satiated. To make sure all in your attire was well and good, ever the one to accompany a lady to make sure nothing less than chaste was occurring.

As the line shortened, you did notice Henry dancing with a few other ladies. Though there was a slight pang of jealousy, you did your best to ignore it for the other delights of the party- the rich decorations, the sumptuous food, the sweet sips of wine.  Besides, as you got to know plenty of people here, men and women, young and old, married or unmarried, you found them all kind and friendly to you. Your fellow eligible ladies befriended you as one among them, not as a rival to be torn apart. None even suspecting you were a servant- only a fellow and equal guest of this ball. Even seeing if you could come to this dinner or this ball in the future or visit. You were making friends outside of your small circle. Friends who wanted you to be with them. 

Though you found that since the king had danced with you, you got attention from several other men. And there were more dances you had with them. They were handsome and some were lovely dancers in all. Though one gentleman with scruffy red hair and boyish freckles seemed stiff as a board as you danced with him.

“What is it, my lord?” you asked.

“His grace, the king, is staring-” he whispered.

“He watches everything that goes on,” you dismissed as you took and retook hands in the dance.

“Not at me. He’s stared at you the entire night,” he grumbled.

As your eyes flashed, you saw it was true. Henry’s eyes were on you. Floating up to meet yours again. Recatching your breath, you made yourself focus again on the dance until it ended.

As soon it ended, the king approached you.

“May I have another dance, my lady?” he asked.

After you accepted, he did not hesitate to lead you on the floor. This time, not a single word passed. You felt his eyes, and noticed his touch more. You felt very warm all over all of a sudden.  His dancing was better, no counts or steps missed at all. You had to catch your breath from his quiet intensity. Before you knew it, it ended.

The king allowed the party to go on, but asked to speak to you in private. Jane was there to chaperone in the back. Her eyes big as you knew it was everything in her not to say or react to something. She merely folded her hands and watched in awe and suppressed laughter. 

“I know you…we met before, Lady Y/L/N” he said.

“We have, my lord.”

“And you truly did not have a cloak at all, my lady?” he asked, noticing your fine gown.

“If I may be honest…it was destroyed by someone in an act of cruelty,” you replied.

His brow furrowed a little in response.

“But I am grateful his majesty was generous to give me his, I am,” you assured him.

“You are…and you live with this cruel person?”

You let out a slight sigh.

“I only wish I could…I could be like you in your wars and fight as you do with France. I’m not a brave person, your grace.” you replied.

His blue eyes softened.

“I wish it hadn’t happened to you. You do not deserve it."

“She would disagree,” you mused.

“No! You are a good lady-you have been nothing but the sweetest maid I have met, even that morning!” he cried.

You felt yourself get a little dizzy at his words. He even blushed, then he looked at you.

“ Perhaps, like my dancing, you may practice being brave.”

“I…I believe I could, my lord,” you replied.

He offered his hand again. How lovely the garden looked with the snow, cooling you from all the exercise with dancing. Already it was late-the ball was winding down.

 “I enjoyed my time with you, my lady Y/L/N.”

“As have I, my lord…”

There was the pealing of a bell. The time was winding down. A servant went up and whispered to Jane. She hurried up.

“Our carriage is about to leave, my lady,” she said.

She turned back to the corner, watching the party guests begin to leave. But…Henry’s hand in yours…nothing ever felt so…so right. You hadn’t the heart to flee him. Not with the sad look on his face.

“The Y/L/N family…that is a house that is of good repute, but small. Where is your father, my lady? Is he here tonight?” he asked.

You only eyed back at the vanishing crowd. “He…he is not here,” you finally answered.

You felt emotions bubbling in you. He let go and you began to increase your steps from him. But then he grabbed your hand and you turned.

“My lord!” you cried. 

“Please, tell me one thing- where can I call on you? Invite you? Find you? See you again?” he asked, almost pleading.

The look in his eyes was almost heartbreaking. Though Jane was getting huffy and impatient, you went up to him, your voice a whisper.

“I live in the Brentford Manor, with the Lord and Lady there.” you replied.

His jaw hung a little loose. Then his hand let you go. They both hung in the air until they fell.

“I shall see you anon then, my lady.”

“I shall see you anon then, my lord.”

With that, you left, picking up your skirts to hurry to the carriage.

 As soon as  you got into the carriage with Jane and closed the door, she laughed  and applauded.

“Not one but two dances with the king?! Oh fie! How incredible! And you met him already?!”

The carriage jerked into motion as it headed back to the manor. Breathlessly, you explained everything to her.

“Am I in danger?” you asked.

“In danger of making him fall for you! But at least one day you’ll have the most incredible story to tell your children! How glad I am it all worked!” she laughed.

When you returned at the ungodly hour, you hurried to her room and switched clothes. Yet your head was still ringing and your heart beating fast, your mind and body still reeling until it could shut down for a little sleep. You wished you could write it all down- of your one night where you danced with the king.

❛ ━━━━━━･❪ ❁ ❫ ･━━━━━━ ❜

It was four days since Twelfth Night and the Tenth day of the new year.  You had to content yourself with your life as a servant. The Lord and Lady were of a milder temper. As far as they knew, Jane introduced herself and curtsied before the king and that was it.  

That morning, you were serving their breakfast. You cut the bread into slices and brought it up to the table to the family. They placed it down, the knife still on there with the other cutlery.

There was a knock. Heads turned. A servant ran over in.. Red cheeked and breathless, his voice a high cry.

“His Majesty, the king, is here!” he yelled.

There was half a scream and Lady Jane nearly dropped her plate out of her hands. There was a flutter like no other, making sure all was clean and presentable. 

“He’s here for you- I know it! He’s here for you!” cried the Lady Brentford. 

She began  pinching her daughters cheeks to make them redder and prettier in her eyes and fussing and whispering. One heard the marching of boots. Your own heart beat harder than it ever had and you shook as you tried with the other servants to dress the place up.

Finally, a servant announced his presence and all stood up. In, sure enough, walked King Henry in his beautiful red leathers and his crown. Your breath stopped as you noticed a little bouquet of flowers in his hands.

 All bowed and curtsied respectfully, then returned to await what he would say.

Henry took off his crown and handed it to a servant. Then he looked around the crowd. You didn’t know if you wanted to shrink or run or both.

“I am here for the Lady Y/L/N. Does she reside here?” he asked.

Their lips curled. They gasped.

“Her-her??” Lady Brentford cried.

The Lord Brentford turned her head to you, his nose flaring. His hands reaching forward, ready to grab you, drag you by the ear to be beaten, box an answer out of you.

“What have you done with the king, you little slut?!”

There was a shift in that second, some of Henry’s guards, even Henry himself was ready to intervene.

Acting quickly, quicker than you ever had, You reached for the table and got the knife, pointing it to Lord Brentford. 

“Do not lay a hand on me or you won’t have one!” you rebuked.

Henry stepped forward, his voice angry.

“Lord Brentford, Are you going to deny the King an answer to his question?” he asked.

Heads turned over to you. Jane was smiling seeing the knife still in your hand. Then the Lord Brentford relented and gestured to you.

“She lives here, your majesty.”

Setting the knife back down on the table, you were gestured to step forward and curtsy. He looked at you in your servant's clothes which made your stomach twist in shame. But you held your own ground, poised with folded hands and kept your eyes up at him.

“May I have a word with her in private, Lord Brentford?” he asked.

They all bowed and relented- his servants to accompany you.

He stepped forth and seemed to blush as he handed you the flowers.

“These are for you, my lady” he said.

“They’re beautiful, thank you,” you replied. You took the bouquet in your hands, feeling it’s sweet scent.

His hands free, you saw him clench and unclench his fists nervously.

“Fair lady-I do not know how to say this. I’m not good with words, or speaking with women…” he began.

That itself made you smile.

“Lady Y/L/N, I am a king…and I am a man too. And I speak to you as one now. Should you refuse, I shall never bother you again. But if you shall, would you allow a hardened soldier to speak of tenderness and affection? To spend time to know this lady and plead his cause to her heart? I offer my friendship at least. At most, as your suitor. Only if you shall have me, Harry of England, as yours. To pursue you, ask for you, care for you. To court you, not as king and subject, but as a man and a woman, only if you accept me. What say you, dearest, fairest lady?”

You brimmed with joy. You felt a free hand clutch your chest, wondering if this was even real. But you knew who was the one in fine leather and who was the one in simple cloth. 

“My lord, I must tell you something…”

He nodded, listening. You took in a breath and began.

“I am the Lady Y/L/N. My parents died and their fortune dwindled. Leaving me with nothing but the title and what dignity we had left. As you can see, the house of Brentford took me in. But other than the kindness shown by their daughter, the Lord and Lady…do not consider me family. They have made me a servant here and I have worked as one since I was very young. If you are willing to court a lady with nothing but an empty title and a heart full of affection for you, you may. If not, I shall let you go. I shall not begrudge or ask you to change your ways. I understand them. I have nothing to offer to you that you may benefit- no lands, no armies, no alliances, and most of all, no dowry.” 

“My lady, you yourself are a dowry,” Henry replied.

A gasp escaped you and you felt everything inside you become warm.

He offered your hand. And you placed yours in it.

“Then…I Accept you as my suitor, my lord.” you said.

He smiled even wider, putting his other hand over yours.

“We have a special dinner prepared in the palace. Would you dine with me?” he asked.

“I shall be glad to…I only ask one thing and one thing in turn in our courtship. This and nothing else…I only ask for shelter. For an escape from this place. To stay in a different home far from Lord and Lady Brentford. You saw what happened-this has been my life for many long years. I want to leave this place, to no longer be under their power. But give only the dearest blessing to their daughter, the lady Jane, and their servants, for without their help the years would have been unbearable…and we would not have crossed paths again. If you cannot grant me shelter from the Lord and Lady, then protection from them,” you requested.

He clutched your hands a little tighter, almost shaking them.

“I shall my lady, you need not be afraid of the Lord and Lady anymore. I will fulfill your wish…and you shall be safe. I shall do everything in my power…may I kiss your hand?”

“Yes.”

He took your hand and kissed it gently, and sweetly. His goatee tickling a little of your skin and his lips soft.

He asked his servants to gather your things, quickly. Much to the astonishment of the whole house. But none dare resist the orders of the king.

 “You shall stay as a guest of the palace until a family, a new one, may take you in. I promise, there are plenty who shall not treat you as they have,” he vowed.

He looked at you with a smile. You then went to your room and wrapped the warm red cloak over you. Then, right before the door, stood the family. You embraced each servant as they congratulated you. Then you went to you hugged Jane with a smile.

“Oh, I feel like I am abandoning you!” you sighed.

“Oh no! Do not fret! I can handle my parents, I will not let my them break me. I will fight them every step of the way. Just write to me often, promise.”

“This wouldn’t have happened without you, I am forever in your debt, Jane.” you replied.

“You already helped heal my leg back then. Then your friendship is the only credit I shall ask for.” she replied.

You hugged again as a goodbye.

You then turned to the Lord and Lady Brentford. They did not speak, but you did.

“I shall never forget your cruelty. Your harshness. I held my tongue to survive-but now I can speak. I do not love either of you. I dislike you both more than any person in the world. If anyone asks me of you, I shall tell them everything you said and did to me, for it is the truth. Of the names you called me, the things of mine you destroyed, and of the times you beat me and broke me. And do not think, should the day ever come that God makes me queen, that you shall receive any help from me. I shall never step foot in this place again or call on you.From this day on, I do not know who either of you are. You are both cruel, heartless, selfish miscreants. May you answer to God and only He may show you any mercy He deigns you both to deserve. You shall have none from me.” 

King Henry offered you his arm and you took it. How warm it felt-you could feel his muscles beneath his leathers, but how smooth it was and how pleasant he even smelled!

“Now…are you ready my lady?” he asked.

You only looked back at the place, and the people standing there. Then back at the handsome, kind face of your regal suitor.

“I am, my most gracious Lord.”

He walked you to outside the door where the carriage awaited. The snow falling gently, blanketing the world in soft, white blankets.

“When we are alone…would you call me Harry? Henry perhaps, too,” he replied.

“Yes, Henry,” you replied.

He blushed a little to hear his name. He were helped into the carriage next to him.

Henry smiled at you kindly as he sat next to you.

“Thank you. For everything” you wished him.

 “Of course, Y/F/N.”

You could have melted how he said your first name. He then held up your hand again and gave it another peck from his lips.

“My, you like to hold and kiss my hand, Henry!” you teased.

“If only it wasn’t so easy to hold and dear to kiss!” he replied with a smile.

 Your eyes forward, not daring to look back. Only forward as the carriage moved away. One part of your life ending and another beginning. To live a new life from now on.

A life where you were finally loved.

[marciabrady]

it's so funny to me that the princess our culture associates fundamentally with passivity offers credos which are among the most active and powerful of any in the fairytale canon

first and foremost, cinderella communicates that we all are what we contribute.

cinderella saves the mice and fosters an environment of collaboration, harmony, and unity that's harbored by her own industrious nature. mind you, she does all of this against her stepfamily's wishes, actively defying them, and creating a counterculture in the process.

as the story team intended the animals to be a reflection of their human counterpart, notice how cinderella's kindred are uniformly hardworking, intentionally kind, and approach every situation with their best foot forward, adapting a problem-solving mindset that collectively aids them all in their shared progression toward the betterment of themselves and the world around them. take the very first scene in which we see cinderella and the culture she's created, for instance:

everyone has a hand in the first chores of the day and they're all choosing to do it with a smile on their face. key word: choosing. because this isn't an idly happy lot whose joy is an accident of their own nature or something that's easy. their happiness is something they have to be mindful of and, in many cases, fight against themselves to achieve. because, guess what? their life is terrible. they've been reduced to living in a dusty attic room of a decaying house. many of them were saved from death by cinderella, herself, and know that if they venture too far outside of the safe quarters she's provided, or if they allow themselves to be seen in some way, they'll be back at death's doorstep. the danger and stress they live under would cause anyone to snap, or anyone to never want to get out of bed, which is why we see them looking like this in one of the most relatable openings of all time:

i mean, cinderella canonically hits the snooze button:

the birds literally have to force her to wake up, initially:

and once she does wake up, she's playful and pleasant and kind, yes. but that doesn't last long- the clock immediately tries her by reminding her of the daily toil she must face in order to maintain the food and shelter that's tantamount to, not only her own survival, but that of this tiny community that she's the unofficial mayor over and continues to be responsible for. she has to sustain herself and the others she's collected around her by choosing to live life the way she does. this kindness is something she has to pay for, every day. and she physically snarls at being reminded of the hand life's dealt her:

and you know what? that's a very human quality that everyone can identify with in some regard because it's hard, even if you are someone who loves life and the people around you, to keep going in spite of the challenges you face. being positive, plainly put, is something that's difficult and you have to keep reengaging yourself to be because it isn't a natural state for most people, and especially not people that have been treated as unkindly as cinderella. let's not forget that she lost both of her parents at a young, formative age, and from that time in her youth when, like all other children, she deserved to be supported and loved and protected, she was literally "abused, humiliated" and "forced" into being a literal "servant in her own house." she had no security- both of her parents were gone, she had no money to fall back on, no education, no means with which to leave the house, and to try to get a job in that world and environment- as unlikely as it would've been to obtain in the first place (which, again is so relatable- look at the staffing shortages and people struggling to find employment today)- would've been contingent upon references of some sort, and we all know that lady tremaine definitely would've either a) ran a smear campaign against cinderella to absolve herself and the family name of any personal fault or b) prevented cinderella from ever leaving in the first place so that no one would ever know that atrocities the tremaines forced her to endure from the time she was practically an infant.

she wakes up after barely being able to sleep, probably, due to all the daily chores she must, alone, accomplish to keep an entire estate afloat. everyone is depending on her, from the stepfamily to the mice to the grounds of her family's home itself. her body's practically aching from the lack of rest, the physical work she's forced to do every day, from sleeping on such an uncomfortable bed. the only place she feels remotely safe is in this drafty attic, which smells of fraying wood and aging artifacts and is in a constate state of decay, with weeds growing in the sides of the tower. that's not even mentioning the emotional turmoil, the ptsd, the grief, the neglect, the physical abuse she's also processing at any given moment

so, yeah, cinderella snaps. and there are times she snaps later on in the film but she always reels herself in and consciously makes the choice to never succumb to her circumstances. this is what makes cinderella extraordinary. she singlehandedly- and actively- ends the cycle of abuse through the behavior and choices she partakes in every single day.

and, again, this isn't something that's easy for someone who has been in survival mode for a majority of their life. but the conscious choices, active efforts, and mindful decisions cinderella makes is what frees the household from that cycle of abuse continuing. i mentioned earlier that the animals are supposed to be a parallel to their human counterparts. remember how we meet gus? he's just been caught in a trap, doesn't have anything to wear, and is literally recoiling in fear. due to his terror and his own need to defend himself out of instinct, he attempts to make himself come off as threatening as possible and is ready to pop off the minute that jaq approaches him:

but, through cinderella's influence, she's able to give him hope once more. she treats him warmly, pairs him up with a buddy to go through life with, comes up with a name- and even a nickname- for him, gives him a community, a safe haven, and clothes him. in that short time, look at the difference she's made in his mood, his demeanor, even his approach to life:

and it isn't just the mice cinderella's this way with. in the opening slides, we see cinderella holding an adorable puppy dog. but as the film progresses, and the narrator details the despair the family estate has fallen into, that puppy dog turns into an old, starved bloodhound who's secretly sleeping on the floor of the cold kitchen to keep from freezing to death. he has to keep even his dreams to himself so as to not be heard by the stepfamily and potentially kicked out. he openly hates lucifer but cinderella encourages him to think of lucifer's good points too, even if she can't think of any herself, to be able to continue successfully cohabiting this environment with him. and when he pounces on lucifer, deserved or not, she puts an end to this:

because cinderella knows what will ever happen if bruno allows himself to give into his impulses, to treat others as life has treated him, to attempt to retaliate in an impossible environment when the odds are already against you. you'll harm yourself the most and perpetuate that cycle.

but, just as bruno is a reflection of cinderella, notice how gleeful lucifer is in falsely incriminating bruno, so that another being who's never wronged him will be unjustly punished and suffer:

this is what separates cinderella from the tremaines. this is why she is the heroine and they will never be, despite how many people you see empathizing with how unfairly life must've treated them for being the "conventionally unattractive" characters in the film, or for having a single mother which to them denotes less resources, or for being awkward, or for whatever other reason of the month they're being rewritten to be the victims.

if we are the sum of our contributions, the tremaines are nothing and that is definitely a reflection of their reality. they only feel alive when they're making fun of cinderella or humiliating her by continuing that cycle of abuse they passively adhere to and never challenge. remember how we met cinderella and her friends, gathering their spirits and putting on a smile, despite how hard it is with the troubles that face them? how they look past that to work together and try to change life for the better?

the tremaines can't be bothered to get out of bed. the truly passive, lazy characters, they grog about in dim rooms, turning around in their fine silks and ornate finery, while a being they literally enslaved is being forced to do their bidding. and they refuse to actively participate in their very charmed and privileged life. they can't even find a reason to be happy- but instead are upset when cinderella enters their room. they want to know why she's taken so long, to hurry up, to continue to wait on them, hand and foot. when she asks them how they're doing, they grumble, "as if you care." because they don't care about anyone else, so why would others care about them? and that type of apathy breeds resentment, which- in the wake of such sedentary creatures- seeks manifestation and results in destruction. the stepsisters get out of their comfortable beds only when they have the opportunity to point their finger at cinderella, to get their mother to punish her. again, they feel alive by inflicting pain on others, it's literally what gets them out of bed:

again, as the parallel, this goes for lucifer, too:

as cinderella nears lady tremaine's bed, her stepmother's eyes blaze with fury, hatred plain on her face:

lady tremaine doesn't move, her hand only lifting to stroke lucifer, who has the biggest grin on his face. meanwhile, the desperation is evident in cinderella. she isn't quite defeated, because she does stick up for herself three times in the scene. but she's tired of this. she's tired of being tormented by her only family, of having the odds stacked against her even when she's doing everything in her power to live as peacefully and productively as possible, of being forced to fight a losing battle that will never result in peace but will only further prompt hatred, and division, and anger. in her expression, there's almost a plea for lady tremaine:

it isn't until she sees cinderella's expression, she hears cinderella try to explain what happened, that she livens up. because she has the opportunity to, again, keep that cycle of abuse alive, to actively try to destroy cinderella's quality of life and to profit off the position of power she's in over cinderella. look at the difference in lady tremaine's expression in the previous cap, and in this one, when she believes she's silenced cinderella and is preparing to tear into her:

one of the best instances through which i can further illustrate this ideology (you are what you contribute) is in a later scene, where we see the stepsisters discard their fine wares, labeling it trash and flinging the luxuries life's afforded them to scorn. it's nothing to them.

yet, to the mice and cinderella, it isn't nothing. because, remember, the royal proclamation declared that every eligible maiden should attend. at first, the stepmother refuses to let cinderella go and even the stepsisters brush her aside with classist comments. when cinderella sticks up for herself by reminding them she's still a member of the family, and by trapping them in the language of the royal decree "every eligible maiden," lady tremaine has no choice but to consent- on the grounds that cinderella is able to make herself eligible through producing a suitable dress. because, remember, cinderella isn't seen as a person. she's seen as subhuman, someone who's reduced to wearing tatters and isn't seen as a person in the eyes of their society unless she has social indicators of wealth via her clothing, in this specific instance. drizella and anastasia never have to think about that, because they exist as people of value in their society due to their good fortune that they had no part in creating. they don't know what it's like to be laughed at, to not be considered eligible or even a person in the eyes of society the way that cinderella's lived experience has reflected since her father died. meanwhile, the tremaines are so deep in their own privilege, that they're literally waving it around like it's a rag and carelessly tossing it away. yet, what does cinderella do, with much less?

cinderella makes do with what little she has, always to help someone else. and because of this active kindness, it changes the mindset of those around her. since she's afforded this to so many of the mice, what do they do for her in return?

what a difference in how cinderella and the stepfamily approaches what's, essentially, the same material? and this community that cinderella has established and continually maintained and influenced comes to each other's aid, time and time again. whether it's cinderella freeing the mice from death, or giving them clothing, or allowing bruno to sleep inside unbeknownst to the stepfamily, or the mice turning into a LITERAL army and battleground in cinderella's honor:

again, this community is just as active and vital as cinderella, herself, is. because those values i mentioned earlier, of helping one another and rising above your circumstances and working together, aren't just whimsical morals cinderella sings about. they're constant behaviors she's actively taking part in and impact the household they all share, to the point where when they help each other take action when the time is right. they're constantly conferring with one another on how to best use their community and the resources this offers to get closer to victory. (meanwhile, the stepfamily is only for themselves; anastasia and drizella literally repeatedly hit each other and compete, even to the point of giving conflicting stories to the grand duke that makes their pathetic attempt seem all the more discreditable at alleging they were the princess at the ball the night before) we see it in how cinderella and her friends accomplish their chores together, in how the mice plan to get her dress remade while she's busy, even in how cinderella's quick thinking leads to calling upon bruno, who must be awoken by the birds with an interjecting call from the horse, and how this leads to all of their escape:

because, this community also knows when it to fight and support one another in times of battle and when the goal will bring about a victory that will ultimately reign peace; they know when it's worth it for a shared goal and the benefit of all parties involved. and the difference cinderella brought into that household is what gave them all glory and helped them, not only survive, but succeed. it isn't just the poor scullery maid we see ascend in the closing chapter of the film. we see the same bluebirds who attempted to wake her up in the beginning of the film holding her wedding veil:

we see those same mice that she nursed from death, and clothed, and fed, and loved; the mice that risked their lives in remaking her deceased mother's dress so that cinderella might, too, have a chance to go to the ball; they're still here, cheering her on and throwing rice in blessing at the happy couple, their own clothing being upgraded to reflect that of the royal staff:

we see that starved bloodhound and the old horse leading the royal regiment, as beautiful and shining and proud as their majestic counterparts:

and this is the world that cinderella, as a character, offers. not a world in which multiple parties are at competition with one another over who's the prettiest, or the wealthiest, or where hatred breeds continual hatred. but she presents us a world in which everyone deserves to be seen, heard and valued; where everyone can find a community they can contribute to and have purpose in and be worthy of experiencing love, whatever you determine love to be whether it's romantic or in the form of a found family.

a world in which everyone can go to the ball:

[animehouse-moe]

Pride Month Manga Recommendations: Currently Releasing

It's the first day of Pride Month, so why not find some LGBTQ+ manga to read to kick off the start of June? Take a look through this thread of 10 currently releasing manga and light novels to find a new series to pick up, starting with-

The Summer Hikaru Died - Soon To Be an Anime!

Yoshiki and Hikaru were best friends, until Yoshiki notices a change in the boy and comes to find out that he's been replaced by some sort of monster that proclaims his love for Yoshiki.

A fittingly disturbing affair, The Summer Hikaru Died does wonderful work as a horror manga, and expertly intertwines Yoshiki and "Hikaru's" emotions and feelings for one another with the dark and foreboding tone of the series.

Whisper Me A Love Song - A Currently Airing Anime!

Yori Asanagi is a girl better at guitar than love, but what happens when underclassman Himari Kino falls in love with that guitar work? Well, a string of misunderstandings appears that sets in motion this love song of a story.

Whisper Me A Love Song is certainly a bit close to cliché or melodramatic, but with Takeshima Eku's art, it becomes quite the appealing series. Certainly for fans of a more typically-styled love story, Whisper Me A Love Song is a very fun read!

I Married My Female Friend - from the author of Doughnuts Under A Crescent Moon

One day at a festival, Kurumi and Ruriko made a "promise" to each other: in 5 years, if neither found a partner, they would get married. That period elapses, and Ruriko comes racing back to Kurumi with a marriage certificate in hand.

I Married My Female Friend is both a lighthearted yet emotionally aware manga that feels like a spiritual successor to Doughnuts Under a Crescent Moon, skipping the challenges of finding love & heading for the difficulty of being in love.

Seaside Stranger - Also A Major (Animated) Motion Picture

A story of two young men estranged from their parents, Seaside Stranger finds a difficult love blossom on a remote island that begins as confinement for the pair as they work through their challenging feelings and pasts.

Kii Kana's art is really something, and studio Hibari's adaptation is equally beautiful- extracting the most out of this dramatic (and steamy) romance. I might add though that it's not quite for those brand new to BL thanks to explicit content, but it's a great read nonetheless.

Otherside Picnic - Both An Anime And Manga

Sorawo Kamikoshi, a university student, spends her free time exploring a creepy pasta-esque dimension she calls the Otherside where she meets Toriko Nishina as the two narrowly escape the clutches of death, starting their journey.

While it's certainly quite the slow-burn of a romance, Iori Miyazawa's horror-filled world is bursting with passion and discomfort in equal amounts, making for a riveting read with a romance that feels impressively real. There's also an anime.... but it doesn't quite deliver.

Cinderella Closet

Haruka's a "plain jane" who left the countryside to live a bright and fashionable life in Tokyo- which she struggles with before meeting her "fairy godmother" Haruka- a young person with an incredible eye and interest for women's fashion and makeup.

In a sense, Cinderella Closet is a very loud depiction of romance in "the big city", throwing curve balls and both romantic & emotional challenges at every turn. In the end though, it remains a very positive and encouraging story with each turn, making for a great read.

The Contract Between a Specter and a Servant

On the worst- and final- day of Masamichi Adachi's life, he's hit by a car and left to die in the streets at night... until the enigmatic Shino offers him a contract to save his life.

While in the same genre as Otherside Picnic, this light novel certainly leans more into traditional horror as it explores a tense but intriguing relationship between Masamchi and Shino. A unique and engaging (re-released) light novel, it's an easy choice for fans of horror!

I Want To Be A Wall

Though Yuriko and Gakurouta are married, no love blossoms between them, as Yuriko is asexual (and a fan of BL) and Gakurouta stills holds feelings for his oblivious (male) childhood friend close to his heart.

Sporting a wonderfully unique concept, I Want To Be A Wall is a story that more so focuses on the wedded couple's humorous day-to-day lives than anything. A very light and enjoyable series, it's very easy to recommend to just about anyone.

Confessions of a Shy Baker

Toshimitsu Yamamura owns a real estate company and is a baking fanatic- spurred on by the sweet tooth of his boyfriend Gonta. One day however, Toshi gets pushed towards advertising his services as LGBTQ-friendly, forcing him to reconcile with how this move that would help others might out himself as gay.

A manga that delicately balances the societal struggles of being gay with a bright and heartwarming romance centered around baking, Confessions of a Shy Baker is a great jack all of trades manga.

Our Not-So-Lonely Planet Travel Guide

Overly serious Asahi Suzumura and equally laid-back Mitsuki Sayama made each other a promise: together, they'll travel around the world, and when they return to Japan they'll get married.

A beautiful story that throws readers out into the world through destinations and stories, this is a manga that does everything it can within its pages. A forbidden love, a forgotten partner, struggles with laws that forbid love- together they explore this world and each other.

And that's all the recommendations for today, if you have any more you'd like to add feel free to share them here!

[fairytale-poll]

BEST MODERN FAIRYTALE ADAPTATION! ROUND 1D, MATCH 2 OUT OF 4!

Princess Tutu (2002 - 2003) is based off the Ugly Duckling and Swan Lake; Mermaid Melody Pichi Pichi Pitch (2003 - 2004) is based off the Little Mermaid; A New Magical Tale! Mofuderella is the Star!? (An episode of Mahou Tsukai Pretty Cure) is based off Cinderella.

Propaganda Under the Cut:

Princess Tutu (2002 - 2003):

This show is PHENOMENAL. Starts as a fairy tale show, slowly starts to discuss fate vs free will and the archetypes that fairy tale characters have to play and what would happen if they could fight the narrative. Also has one of the most perfect endings to Duck's arc that any protagonist could ever have.

Mermaid Melody Pichi Pichi Pitch (2003 - 2004):

I love my magical girls

A New Magical Tale! Mofuderella is the Star!?:

I love that transgender teddy bear so much