#finch thoughts

[thefinchez]

wait why was ap world exam kinda easy

[walnutfinch]

beepboop i’ve been lurking on tumblr for ages but i’ve decided to jump in and stop dawdling

so here’s a post to confirm that i am indeed not a bot. might post art too but i’m not sure yet. especially since i’m thinking about making a separate art blog too

[quotergirl19]

Phillipa Featherington really went from a catty older sister picking at Penelope and throwing her side eye, to a happily married woman who quickly and fully embraces the, “Featherington’s support each other,” vibe in the absolute best ways.

She was just as shocked as the rest of the ton was that her little sister was Whistledown all along, but when you could hear a pin drop and the mood was at risk of turning, her tiny pregnant self was running across the room shouting, “Now Varley! The bugs!”

She made the moment undeniably celebratory. Her baby sister just emerged triumphantly as more than what anyone thought she was. It was perfectly represented by beautiful butterflies.

And in the epilogue, she essentially says she hopes her daughter is just like her.

This is the sort of character development I live for.

Absolute perfection. 10/10. A+. ⭐️

[everchased]

at least it'll be wonderful while it lasts.

(a little post-game downtime discussion, when they have the time and space to talk about these things. also in my canon, scratch gets to stay. :/)

[ace-and-the-rpg-horrors]

i absolutely adore how open Edwin is to learning. there's a sort of expectation that characters from older eras would be very set in their ways and close-minded. however, Edwin, an Edwardian ghost, is not.

people have pointed out that in episode two, he told Crystal to ask Niko if the women in her family have a history of "hysteria." and then, in episode five, stopped himself from referring to Shelby's condition as such. he must have been told that it wasn't acceptable to claim women have that anymore, and he bettered himself.

Edwin was initially judgemental about Monty's interest in astrology, and told him so to his face. yet, we soon see him willingly reading the book that Monty gave him. he even offered to talk to Monty about astrology when attempting to reconcile with him.

naturally, he doesn't know much about modern technology, but he doesn't look down on it. during the Devlin House case, Edwin listened when Crystal explained something he didn't understand, even though he wasn't fond of her.

he respects Niko's interests greatly and wants to learn more about them, such as when he watched Scooby Doo with her, paying full attention and enjoying it rather than putting it down for being "childish" or whatever we may have expected. Edwin also accepted the sea glass from her, asking about its meaning.

Edwin is extremely clever, but also very humble about it. he doesn't feel insecure at all when someone else knows more than him when it comes to certain things, and i really love that.

[montyfinchirl]

Can we appreciate how Charles and Edwin both have very specific types

Charles: bitchy, sad, magic user, who’s mean to everyone but him and way stronger than people think

Edwin: funny, easy going guys with family related trauma who can be a little air-headed but most of the time are way smarter than people think OR whores

[the-modern-typewriter]

im so obsessed with the touchstarved hero thing that you did ive read it more than 20 times, a very normal amount yes, would you ever think of writing another touchstarved prompt or even a touchstarved villain one? thank you so much for your work

"I don't mind."

"Hm?" The protagonist looked up, brow furrowing.

"I don't mind when you touch me," the villain said. "That is - it's not horrific."

"Well, I'm glad I wasn't horrific. Life goals."

The villain shot them a look.

The protagonist smiled despite themselves. It was too easy to feel lulled, brain at ease for the first time in far too long, buzzing with all the good endorphins. Intimacy. Closeness. It was impossible to dwell on the danger, for as surely as there was attraction, there was danger.

They leaned in, slowly enough to clearly telegraph their intentions, and pressed a kiss to the villain's chest. Half teasing. Half something infinitely more dangerous, like genuine affection for the terrible idea sprawled beneath them.

The villain held their gaze. They almost even smiled back. They tangled their fingers into the protagonist's hair instead, but didn't tug them away. They let the protagonist settle even closer than before, head against their beating chest.

The protagonist was starting to understand that meant something too.

"It's merely that people don't do it very often," the villain said, voice clipped, carefully controlled. "Touch me, I mean. Or when they do, it's with the sort of casual presumption that makes me want to rip their hands off. You do not presume."

"Well, you did look ready to rip my hands off once or twice." They knew what the villain meant though. When the protagonist had touched suddenly, unexpectedly, it had been less about trying to control the villain and more just needing something to hold onto as the villain kissed them stupid. Instinct. Desire. Need. The villain had known that, hadn't they? "But you're welcome. I mean, any time."

The villain nodded. Once. Curt - uncomfortable, perhaps, with such an open and vulnerable emotion. They cleared their throat.

The protagonist felt another stupid swell of warmth. They could hear the villain's heartbeat slowing beneath their ear, trusting, and it felt like yet another giddy thrill for the day. A complicated and tentative privilege.

They lay together, in their stolen moment of illicit peace.

"Besides," the villain broke the silence after a while. "Next time, I can always ziptie your hands to the bed posts."

"Next time?" The protagonist's heart skipped.

The villain shrugged. "You like touching. You'd look adorable begging for it. I think I'd like to see that."

The protagonist was sure they'd gone all wide-eyed again, flushed and flustered, because that time the villain definitely smiled. They hesitated, then tugged the protagonist's hair.

"Come back here so I can kiss you again," the villain said.

The protagonist obliged, even as their brain whirled through all the villain had said.

How long had it been since someone touched the villain like this? Since the villain let themselves be touched? It was clearly something they craved, enjoyed, just as clearly as it was something more complicated than that too.

They stopped thinking as the kiss deepened. They drew themselves a little closer still, ever-mindful of where they put their hands, and only more conscious now because of that of the way the villain's body responded beneath them. The shiver of breath. The thud of their heart. The way the villain pressed in, only to pull back again, like a starved creature that could only sustain itself in small increments before it became too much.

It was intoxicating. It felt just a little like power. A good, perfect, brilliant sort of power.

As they broke apart, the villain studied them for another long moment, expression unreadable, but eyes almost soft.

"Come on," the villain murmured. "Play time's over. Let's go."

[your-queer-dad]

Here's 20 realistic reasons not to kill yourself today. Remember, anything that keeps you alive and keeps going is enough.

1. We would miss you. I would miss you.

2. Think of all the ice cream flavours you haven't tried yet, or the food combinations you haven't tried.

3. You can't discover a new favourite song if you're dead

4. Imagine all the funny moments you'd miss, all the pointless celebrity twitter fights or the niche internet drama, all the strangers tripping in the street

5. Imagine proving people wrong and going fuck you, watching all the people who doubted you be completely wrong

6. you'll never have finished decorating your room, or your wardrobe, or your collection, you'll always have something unfinished that's worth finishing

7. You'll never be able to meet your internet friends or heroes in real life

8. Imagine how many cool outfits you would miss out on wearing, how many people would think "damn that's a cool outfit" as you pass them on street

9. Your social media accounts will stay unfinished

10. What if your favourite TV show gets a second series? You'll never know how it ends

11. You'll never get to meet a potential best friend or partner

12. You'll never get to be all the fucking awesome versions of yourself you could be

13. You have games to win and arrogant people to prove wrong

14. You'll never get to watch hour favourite movie again, or realise a crucial detail that adds a whole new meaning to it

15. You never get to see the world become a better place if you're not in it.

16. You never get to try new things with your style, your hair or makeup

17. You never get to get that tattoo, or that piercing, or that really cool piece of clothing

18. think of all the debates you would miss out on winning, the feeling of pride swelling in your chest

19. You miss out on trying a new hobby or a new opportunity

20. Your pets wouldn't understand where you went.

Are these all relatively small things? Yeah. But what's important is that you see tomorrow. You give yourself one day more, go to bed and wake up tomorrow. That's what's important, not what happens in a week or a month or a year, just that you get through today and give yourself another chance.

It's okay if it takes you 10,000 'one more days' to get to 'i can't wait for tomorrow'. It's okay if the suicidal thoughts never leave as long as you wait until later and you stay alive now.

I love you. I care about you. I would miss you. Just give yourself another day.

[agerblade]

POV Charles's snapchat:

moved from: old account

[romanticallyghosting]

there's probably other posts out there talking about this, or maybe its just obvious so no one actually thinks it needs to be pointed out but i'm insane about how differently monty acts when he's around esther vs. edwin

because the only time i can think of where monty's genuinely smiling in a scene with esther is the very first one where he's just been turned into a boy. other than that he's quiet, reserved, and kind of snarky around her, which i've always assumed to be a defense mechanism. the moment he has any positive feelings, like a crush on edwin? esther's immediately scolding him and he has to reassure her that he's loyal. so he clearly learned quickly that he has to hide who he really is from her

but with everyone else? he's so genuinely happy. like he seems like he's having a great day all the time, and even when he does something that seems a little rude like with his first meeting with charles, he does so with a smile on his face. this, of course, makes him do better at having the agency members trust him, which is his job, but he seems so happy in an almost child-like sense, where he's giggling and saying a little "whee!" when he pushes himself off on the swings

but when edwin rejects him, he loses all of that. he starts treating everyone else with the same snarky coldness that he used for esther. and its so interesting to me when he tells esther he's been found out in ep7. because he genuinely faces it with such a lack of fear. he doesn't hesitate or anything, and its because there's nothing for him as a boy. he knows esther's full strength, but he knows that nothing can hurt him more than being a crow-turned-boy with feelings that everyone hates him for and nowhere to go to.

[not-the-living-ghost]

Esther Finch fighting Edwin and Charles in Episode 1

[thefinchez]

i can't be trusted around power tools. not because i don't know how to use them but because i giggle every time i hear the word "jigsaw"

[groenendaze]

iI think everyone should have a fluffy black dog at least once in their lives

[quotergirl19]

How funny would it have been for Prudence & Philippa to have pulled aside their little baby sister Penelope at her wedding to tell her about sex, since their mother didn’t do it for either of them until they were already married, only for Penelope to be surprisingly unfazed and confident that she and Colin would navigate marital relations just fine.

[shaylogic]

Is he doing the teenage girl thing of "sigh can't wait for that handsome guy to burst in and fight my mom for me and whisk me away!"

Do you think he daydreamed these things all day long perched on that stool?

[ace-and-the-rpg-horrors]

it is so important to me that within the very last scene Monty appears, he is spoken to with kindness. and by Charles, of all people.

because the only person that Monty seems to have regularly known is Esther, and she treats him with anything but kindness. it's very safe to assume that Monty has presumably spent the vast majority of his life being berated, attacked and neglected by her. there has never been a moment that showed Monty receiving any sort of gentleness or tenderness from her. when Esther does compliment him, it's only to do with how good-looking she made him as a human. and that's her own handiwork. Monty himself is never praised, never acknowledged, never seen for any of his own efforts to assist her. yet, she was quick to both see and act the second he messed up, and not even through fault of his own.

it's so incredibly touching that Monty is finally praised for his own actions when we part ways with him. and by the very person he dislikes so much. Monty bitterly resents Charles. he's not shy about it. Charles is not unaware of it. he isn't all that fond of Monty himself. and yet, Charles is the one to end things on a positive note. it should be ironic, but it isn't at all. it makes complete sense.

of course it's Charles that Monty shares this final moment of his with. Charles is not an idiot, so i'm certain he could somewhat tell that Monty is a victim of abuse. the victim of an abusive parent-like figure, no less. just like him. Charles is rightly furious at what Monty has done, but how could he truly hate him? when he knows full well what it's like to be so scared of the person who's meant to look after you? when he knows full well that horrible feeling of being trapped without any escape in sight? Charles has also experienced being treat in a disgusting, violent manner for no reason at all. he may not have been serving an impossible-to-please witch like Monty is, but no matter how athletic, hard-working or friendly he was, Charles could never escape his father's terrifying anger, all efforts of his rendered futile.

it's interesting that Charles doesn't seem all that shocked in this moment, to see Monty act against Esther. he's glad, but i don't reckon his expression is one of surprise? it's almost as if Charles already had some sort of faith in Monty, even though the crow has given him absolutely no reason to trust him, quite the opposite. but maybe that's not so strange. Monty is like Charles. Charles is the person who outright said that he's desperate for people like him to be right, to be good. we saw how devastated he was when Brad and Hunter were not.

so, these words from Charles must have mattered to Monty greatly. people who are abused, especially by those who are meant to look after them, such as their parents, can often be led to believe that their abuser's actions are somehow "justified," even if it's not a thought they're fully conscious of. Monty isn't entirely naïve, at least outwardly. he clearly isn't under the impression that Esther actually cares for him, considering how bitterly he speaks to her. but deep down, there must be a reason he still stays with Esther, because he isn't restrained physically. Monty's cage is unlocked, he's "free" to fly around as he pleases, even shown to go outside at one point. he doesn't fly away from her, though. and that may be because he unconsciously feels that he owes Esther his complete loyalty.

but this moment could have changed that. if Charles, who Monty doesn't like and isn't liked by in return, who Monty was impolite and passive-aggressive to can speak to him kindly - what right does Esther, who Monty tries to be helpful to, have to treat him with such cruelty? what right does she have to scream at him, to grab him, to mutilate him? when he's done nothing but be her loyal familiar, having only committed the sin of feeling too much for her liking, human feelings that she forced upon him?

this scene is towards the end of the show for us. but for Monty, maybe it's a turning point in his life.