#i have 3 papers to write

[abstractfrog]

Happy 1 year anniversary to Mr Sherlock Holmes! Here's a litttleee celebratory comic from me

[casscainmainly]

Duke and Bruce: A Question of Definition

When re-reading Cursed Wheel, I was struck by this exchange. Suspicions around Bruce's motive for taking in Duke is a running thread in their relationship, but what fascinates me about this moment is that Duke is using this suspicion against Bruce. He knows Bruce will be hurt by this accusation. More than hurt - Bruce's "maybe" suggests uncertainty, a lack of faith in himself. In this exchange, Duke and Bruce are both uncertain of what they mean to each other, and both troubled by that uncertainty.

This uncertainty runs throughout their time together. I'm going to try to track Bruce & Duke's dynamic through the years; basically, this post collects my disparate Bruce-Duke thoughts from my full Duke read. So warning that this is a LONG post.

I will probably contradict takes I've had in the past but you live and you learn 😭. Also the Bruce-Duke dynamic shifts a lot so this is not definitive or 100% correct - lots of these moments can be interpreted differently! But with all that said, let's jump into Zero Year!

The Beginning

Duke and Bruce first meet during the disaster called Zero Year, where Riddler blacks out and floods Gotham:

Batman (2011) #21

At its core, Zero Year and Endgame are about Bruce's relationship to Gotham. Duke says "He thinks you're dead[...] ever since he killed the city." Batman's death becomes intertwined with the city's death; in the reverse way, Duke in Bruce's mind will become intertwined with Gotham. This exchange sets up their relationship as reciprocal: Bruce gives Duke his fish, and Duke gives Bruce information. From the beginning, they have equal need for each other.

Batman (2011) #30

After Duke's parents rescue Bruce, Bruce tries to persuade Duke to leave Gotham. Duke replies: "No. We're here." Duke's decision to stay in Gotham directly influences Bruce to stay as well - here, we begin to see Bruce linking Duke to the city. This issue establishes that their relationship in some ways revolves around the city itself.

Batman (2011) #38

Then, Joker arranges for Duke and his parents to star in a re-enactment of the Wayne murders. Bruce manages to rescue Duke only, and then Bruce asks Duke to help him find a first aid kit for Jim. This scene parallels their first meeting in #21 (see the fish panel above!), with one handing something to the other. Their positions are flipped: this time it's Duke handing something to Bruce. The flipping nods to the 'reciprocity' aspect, and also to the way they parallel and will continue to parallel each other (particularly in Snyder's writing).

But this is also the first moment of genuine connection between the two of them! Bruce asks Duke to be a "friend," and they fist bump. Nowhere near familial, but a bit more intimate - this intimacy is more on Bruce's side than Duke's though. Duke still sees Bruce as primarily Batman, but Batman begins to think about Duke as an individual. This one-sided growing intimacy is a core tenet of their dynamic.

Symbols and People

Let's address this 'one-sided intimacy'. To Duke, Bruce is Batman first and foremost, and he criticises Bruce whenever he's not:

Batman (2011) #47

To Duke, Bruce is just anybody, but Batman? That symbol "inspire[s]" people, and "no one could be [Batman] but you!" His faith in Bruce is entirely tied to the Bat symbol. Concurrently with his growing understanding of the Robin symbol in We Are Robin, a large part of Duke's early story is about symbols as markers of community and hope. He prioritises Batman's relationship to the city over any relationship he personally could have with Bruce.

Bruce's view of their relationship has shades of this too. He tends to describe Duke in terms of his effect on the city:

From Batman & The Signal #3 and Batman: The Secret Files: The Signal respectively, both of these are about Duke's potential to benefit Gotham. The latter in particular shows Bruce idealising Duke as the 'perfect' Gothamite, a "represent[ation]" of the city's best.

This kind of idolisation skates close to early Bruce-Cass, particularly the idea of Duke being the 'best' (analogous to Bruce calling Cass 'perfect'). But Bruce does not go as far as he did with Cass. Other Duke fans have said this, but in a lot of ways Bruce is actively trying not to fall into previous parenting/mentoring failures. So he tamps down this symbolisation with lines about Duke as a specific person:

Batman & The Signal #1

"Something independent of the past, and... of me." The wording here is so careful, so constructed to highlight Duke's agency and to separate Duke from Bruce's previous relationships. Bruce also separates Duke from himself, avoiding the projection that was characteristic of, yet again, early Bruce-Cass. I'm Cass-brained so I'm mostly using Cass but these pitfalls occur for his other kids as well. Bruce does see Duke as a symbol of Gotham/hope, but he also knows the importance of seeing Duke as an individual with agency.

Bruce's struggles drive him to differentiate Duke from the other Robins, to cover him in bats but allow him to work during the day, to constantly show how important Duke is to him personally but only verbally acknowledge Duke's importance to Gotham. He ends up simultaneously pulling Duke into the family (offering him the manor, giving him a Batsuit, working alongside him in All-Star) and accepting Duke's distance (allowing him to work in the daytime, giving him his own cave, putting him on the Outsiders).

And Duke, being the detective he is, notices.

Insecurity

A ton of Duke stories feature people telling Duke he doesn't fit/shouldn't be here:

Dark Nights: Death Metal Robin King // Cursed Wheel Part 2 // Cursed Wheel Part 6 // Detective Comics (2016) 983

Duke brushes some of these instances, but he does internalise some of it. See Batman and the Signal #1 and Cursed Wheel Part 6:

Duke's insecurities are not about Bruce alone. They're about being unable to find community, represented by the Batfam in both cases. But Bruce is a huge factor in the insecurity, and the Cursed Wheel panel in particular is so evocative for me. The way Duke frames it - "They found a way inside with you" - suggests that Duke is expecting Bruce to help him. He doesn't want Bruce's approval, but he does need Bruce to help him through this, in the reciprocal way they've always helped each other.

But I think Bruce's struggle to define what Duke means to him, as I outlined above, is part of why Duke feels Bruce isn't helping him. Duke begins to question Bruce's motives in taking him in:

Batman and the Signal #2 // Dark Days: The Casting

Bruce shuts it down every time (including in Cursed Wheel Part 6), but it doesn't really make Duke feel better. "I chose you because of who you are / I only wanted to be there when you decided what you were going to become." Bruce consistently highlights Duke's agency/individuality as the reason he took him in, but it just doesn't jibe with what actually happens - not Bruce giving him two suits, putting the bat on him, etc. And Duke sees that inconsistency, so anytime Bruce pulls out an 'it's just because you're cool Duke,' it doesn't ring true. They both know that's not Bruce's entire motive.

That brings me to the panel I opened this post with. Duke questions whether Bruce took him in for self-serving reasons, and Bruce pauses before saying "maybe." Duke hits on the reason for Bruce's inconsistent behaviour - Bruce himself is uncertain about his motives for taking Duke in, and afraid they are selfish. This uncertainty in turn sows insecurity in Duke, because he values and desires transparency. As long as Bruce is unsure about why he took Duke in, Duke cannot be fully comfortable in his position in the Batfam.

Parenthood

But what's the root of Bruce's uncertainty? Right before the Cursed Wheel argument, Bruce suggests moving Elaine and Doug away. What Duke says - 'maybe you took me in out of guilt' - is a paraphrase of what a Jokerised Elaine told him earlier. This argument, and Bruce's uncertainty, revolves around Duke's parents.

Bruce is kind of the reason anything happens to Duke's parents anyway (since Joker mimics the Wayne murders), but Bruce also promises Duke everything will be alright:

Batman (2011) #38

Duke doesn't blame Bruce for what happened to his parents or his inaction on finding them - he calls Bruce's amnesia 'selfish', but it's more a general critique than a personal one. But I think Bruce does blame himself for failing to keep his promise. I'm extrapolating a lot because we don't really see any of Bruce's feelings, but thinking of his reaction to Duke's mom's absence in Batman: Urban Legends #18:

Jefferson says Duke is going to make a mistake that he'll "never forgive himself" for, but they "owe [Duke] more than that". This is pure extrapolation but I like to read this as touching on Bruce's guilt for never having found Duke's parents earlier, something he'll never forgive himself for. He owes Duke, which is why he becomes hell bent on finding Elaine when she goes missing again. But if he's guilty at this point, then the guilt could have run through their entire relationship.

Which makes things so complicated!! Bruce feels guilty about not saving Duke's parents; Bruce loves how much Duke loves his parents; Bruce thinks it's not good for Duke to spend so much time thinking about his parents; Bruce also, maybe, a little bit, wants to be Duke's parent. Thinking of this tidbit from Detective Comics #984:

Bruce warns Jefferson about how he should treat Duke, and the very first thing he says is that Duke "won't want another father figure". This shows that a) Duke and fatherhood is a touchy subject and b) it's a subject at the forefront of Bruce's mind. This wording also leaves it ambiguous whether Bruce considers himself a 'father figure'. The next line is nonsense about Duke respecting Bruce too much to 'challenge' him, which is plain wrong, but it does show that Bruce is not very clear what his relationship to Duke is. He's not exactly a 'father figure,' but neither is he a stranger like Jefferson. This in-betweenness is repeated by Duke in Batman & The Outsiders (2019) #1, when he says "You're not my father. And you're not Batman." Batman occupies this nebulous role in Duke's life, orbiting fatherhood but never quite touching it.

Though I think this discomfort around fatherhood is more on Bruce's side, nebulous fatherhood is also a motif for Duke. In Batman & The Signal, Gnomon's presence disrupts a lot of Duke's beliefs about 'family'. We don't have too much on Duke's feelings about Gnomon (recurring thing... sigh) but we do have morsels:

Batman: Urban Legends #18 // Batman: The Secret Files: The Signal

Gnomon makes Duke question Doug's 'father' status; simultaneously, Duke struggles with this idea of 'trading' his WAR family for the Batfamily; then, in Urban Legends, Duke imagines his mom accusing him of loving his dad more than her. All of this shows Duke is deeply troubled by familial replacement - he's terrified of losing his family, particularly Doug and Elaine, because he's found other people he considers family. Bruce figures as both a symbol of the Batfamily and as a possible-father, undergirding a lot of Duke's fears here. So while Bruce more overtly grapples with the way their relationship is defined, Duke also struggles with it.

It's why Duke imagines Bruce under 'family' in Batman & The Signal #3, and then immediately amends it to 'mentor' and 'friend'. In a way, Duke's namelessness in All-Star Batman is a symbolic encapsulation of how neither of them name what they mean to each other.

Our Best Selves

BUT while their relationship is complex and filled with uncertainty, it can also be a really beautiful, really healing thing for both of them.

All-Star Batman #3

Bruce has a long history of shutting people out and being dishonest, which has landed him in hot water with his allies many times. But Duke, who represents honesty and truth, allows him in turn to be honest. Duke knows Bruce needs someone to hear him talk about Harvey, and Bruce knows that Duke needs the truth. And they offer each other what they need, as they have from the very beginning.

Bruce does this for Duke, too, in Batman: Urban Legends #18:

Duke has been working himself to the bone trying to find his mom, to the Outsiders' worry. But it's Bruce's appearance that allows Duke to finally talk about what he's been working on. This panel just really gets me because Duke is talking to all of them but looking straight at Bruce - at a man so entangled with Gotham, with what happened to Doug and Elaine. He wants Bruce to understand. Bruce does.

They are both people who have such a deep love for Gotham, for their parents, who believe in rehabilitation and the goodness of people. And they'll always save each other.

All-Star Batman #5

All-Star Batman #5 // Batman (2011) #50

So actually this section is about the random Duke appearance in Detective Comics #982. Deacon Blackfire tells Bruce that Gotham is cursed, and the issue takes Bruce through ruminations about underserved Gotham neighbourhoods, the role of community, and ends with him watching the sun come up with a little boy. IT'S SO DUKE, like everything Duke stands for, but it's also what Bruce stands for too!! And what's interesting is that when Bruce is told he's alone, he imagines Dick, Babs, Damian, and Duke. Duke says, "we're out best selves because of you."

The Duke-Bruce relationship is a reciprocal one, so Bruce may bring out the best in Duke but Duke also brings out the best in Bruce. And they both believe in the best of people, the best of the city. They are both in love with Gotham, with their families, and they both deeply believe in rehabilitation and promises. They are their best selves because of each other.

Conclusion

In Cursed Wheel Part 4, Duke decides to keep his parents on the premises. He tells Bruce that no matter what his parents say, the truth is that they love him, and he can take it. And Bruce smiles.

Because even though Bruce was the one who suggested moving his parents away - even though he may want Duke to be in his family - he loves Duke because he would never let his parents be moved. Through all of the symbols they make out of each other, all of the slippery definitions of fatherhood, friendship, and mentorship, they are two people who fundamentally get each other. Duke gets where Bruce is coming from with Harvey, and Bruce gets what Duke needs (with the daytime, with the Outsiders, with finding his mom).

The best Bruce-Duke moments are layered with an intimacy that isn't necessarily familial, but is also not strictly teacher-student. They've grown close, but they are also still independent of each other - and though I don't think either of them will ever fully say what they are, that's not so important. They may never be fully free of the uncertainty that underlies their relationship, but they love each other, and the indefinability of their love doesn't make it any less strong.

[scissorcraft]

art for the first chapter of my fic!!! link [here]... -pokes my fingers together-

[gazpachoandbooks]

Currently imagining Arthur + Gwen + the knights asking someone (maybe druids?) who this famous "Emrys" is and they proceed to do a version of "We Don't Talk About Bruno" while Arthur, Gwen and the knights grow increasingly more distressed with each line and Merlin hyperventilates in the background

[bi4bisamjess]

sic transit gloria mundi as a vhs tape. whatever ummmmm. episode 5 here.

[essektheylyss]

My copy of Daggerheart has arrived, and I was explaining how much I love the campaign frames because they seem so much more usable than, say, an adventure module or a whole setting guide, they're basically the perfect amount of information to give me an immediate sense of structure without feeling too rigid or constricting or like I need to have an entire book's worth of lore or plot memorized, and as I was explaining this I was like... Oh. It's because they are functionally pitch bibles. This is screenwriter to screenwriter communication.

[asexualjedi]

Still so iconic of Matt fraction to start his run like anyways off screen Clint and Kate who have met a few times before this run have become besties and are fundamentally now intertwined characters. Like and that’s just canon now. I think more comic writers should be willing to kinda just decide a new status quo like that especially with characters that have been under utilized

[esme-ordaz]

"The Window" by SilverShine is such a treasure. There are some things about gender roles/stereotypes I don't like or agree with (it was written around 2015.?) but still; it is very well written and the dialogues are so funny.

[gomzdrawfr]

having a keyboard going clicliclicliclicalcalcalcalcalclclalcalcl does boost my productivity

[alwaysoutofpaper]

out of everyone, who’s the best cook?

p.s. that's just the stuff in the freezer... there would be more leftovers in the fridge. lol.

also, they weren't included here, but Ch-petta can cook. it just prefers not to most of the time. raw veggies all the way.

[spaceorphan18]

The Lady Whistledown Papers : 2x02 Off To The Races (Part 1)

Welcome back, Gentle Readers, to The Lady Whistledown Papers, where I’m taking an in-depth look at Penelope Featherington and Colin Bridgerton’s character arcs and romance within the show Bridgerton!

For previous issues, follow tag : The Lady Whistledown Papers

Colin is back! Which means we have a lot to talk about :D

A Return Home

Before I get into the crux of this scene, I want to make a quick note about the opening Lady Whistledown narration -- which is mostly there to provide context and reiterate what happened in the first episode. But what I find most amusing is the commentary in relation to Penelope. Despite the fact she has some rather choice words to say about both Anthony and Kate, the amusing part is that she mostly doesn't seem to care all that much about it, and is just hanging out on the side of the wall with her bowl of popcorn ready to watch some drama that she has zero part in. Most likely unintentionally, it's also a nod to the fact that Penelope is even more removed from the main story than she was in Season 1.

Anyway, on to the scene at hand! We get Penelope coming to hang out with Eloise. And the first thing I want to note is that Violet is there -- and incredibly at ease with her. I believe, even though we have seen Penelope in the drawing room before, at dinner, and crossing paths with the entire Bridgerton family, this is the first time we've seen her exchange dialogue with Violet? But it's nice to see the comfort in which Violet has with Penelope. Not only does she seem like she's used to Penelope's presence, she even thinks Penelope would do some good in getting Eloise to think about things like marriage. It's a shame we don't get to see more of Penelope engaging with other Bridgertons, but at least there's some precedence to be had here.

When Penelope gets in, the first thing she does is note that Eloise is reading LW, and she's almost smugly amused by it -- especially when Eloise had claimed she was done with it. Violet then jumps in, encouraged that Eloise might be interested in finding a husband -- and I LOVE Eloise's line about how there's no other clever way to say 'no'. Claudia Jessie's delivery cracks me up every time.

So, they get into discussion about LW's slight change in writing - Eloise reiterating that she appreciates that LW stands up for women, and is somewhat less shallow than previous entries. Eloise is sure she can get LW to do more if she only had her ear, and Penelope, interestingly, states that maybe LW is content in how she writes.

Which kind of leads us to a big difference between the two. It's a continuation from the conversation they had in the previous episode. Eloise is is passionate about women's rights and independence, and her drive and desire to do more than settle down and get married. While Penelope, who does agree with Eloise that women she be allowed to do and be more, doesn't mind as much the whole getting married and (melo)drama of society.

Eloise is independent because she wants to be. Penelope is independent because she has to be. It's a subtle difference, but speaks volumes about the two women, and not only how they look at the world, but how the world has treated them, too.

I love the look on Violet's face when she jumps back into the conversation -- claiming that what Eloise really needs is happiness and that she could find that with another person - preferably a male person with whom she could marry. I love that she thinks that Penelope is going to be the one to help her convince Eloise to try.

Penelope says she could find happiness, not with LW but with someone like... Colin. Colin?! (Eloise's face when she says -- my brother -- mortified. I love it so much.)

Colin is back! Whoooo!

And of course, pointing out the obvious but not only is Penelope first to notice him walk into the room, but the first thing he does (even before that someone ridiculous push in with the camera) is notice her sitting there. It's not even a cursory glance, either, he full on stops and turns his body towards her (granted she is saying his name at that moment but still interesting to note).

(Eloise is smiling as she gets up to hug him - might be the one time she's actually happy to see him, lol. He is, after all, about to get in her way a lot more.)

So. Here's the fascinating thing about Penelope. In the previous episode - we've seen her at the top of her game, confident as LW and loving every second of it. And at the top of this episode, she's relaxed, assured, having fun coming between Violet and Eloise. And the second Colin walks into the room -- she is flustered and tongue tied and really unsure what to do with herself. This poor girl. Excited, thrilled that he's returned, especially after the correspondence they had while he was away. There's an intimacy they've shared already, that is just between the two of them, and of course, her deep feelings that have always been there. But now she's out of her element, and this is family time, and on top of the awkwardness, there's this sense that she's impeding the family space.

It makes me sad that we never really got to see what the dynamic was like when Penelope was over visiting the Bridgertons during season 1. Sure, we had the one family scene near the end of the season where she's there to spend time with Eloise. But it does make me wonder what Penelope and Colin's dynamic was like while she was at Bridgerton house -- because even here, their dynamic has shifted from what it was in Season 1. Ah well (I suppose that's what fanfic is for.)

But let's back up and talk about Colin's entrance for a moment. Because there's a lot to unpack in about a five second span.

Colin strolls in that room with a sense of confidence and positive energy. While we won't get a ton of details from the Greece/Mediterranean trip, but he's in good spirits, so we can only assume it went rather well. But Colin's first comment, noticeably, is that things haven't changed. This is somewhat directed at Penelope and Eloise still chatting away, but also that Violet is still sitting there doing her needlework, Benedict is just lounging around -- even though we are in a bright, new season, with the exception that Daphne is not there anymore, family dynamics really haven't shifted all that much -- and he has changed more than everyone else.

He's excited about his travels, and everyone is pretty much right where he left them. And there's some comfort in that -- returning home (and he has missed home) and finding that relief and comfort in everything being the same.

(It'll be an interesting contrast to when next season he returns, and everything is different.)

Also, let's talk about Colin's look for a moment. It's funny that people talk about the Season 3 changes, as if there weren't changes here, too. (I'd almost argue that Season 1 and Season 3's looks actually have more in common, and Season 2 Colin seems like an interesting detour.) The thing is Colin comes in looking much different than he had the previous year -- the hair is shorter, there's hair on his face, and doesn't look as boy-ish as he did in the first season.

(Btw - I did google Greek Fashion of the 1810s, just to see if his travels had any influence on his clothes, and my five second search didn't turn up any interesting results, so I can't talk to Colin's exact fashion here.)

The thing that interests me is the fact that (kind of like Penelope) this is that young adult stage -- that awkward (said affectionately) time between being young and looking it to looking like an actual adult. Part of it's make up, part of it's clothing, part of it is acting style (I mean, Nicola is a pro at being able to make herself appear nearly any age she wishes) - In Colin's case, in addition to all of that, we're watching Luke go from his mid-20s towards his 30s, and it kind of adds to the visual of Colin growing up.

Colin jokes that they should put aside the latest family squabble and embrace him. And it's nice to see that Colin has retained his lighthearted nature. In fact - after the amount of drama that happened to him in Season 1, it is nice to see such a beaming Colin return.

After Eloise, Violet hugs him next - and says she's surprised to see him back so soon. Which is interesting - what is the timeline here? How long was he gone? Why did they expect him gone longer? What is the norm for any of this? i have no idea. He does say that he misses them, and I have no doubt that he does. Family is a huge component in all of the Bridgertons' lives, and as much as I'm sure they all like to leave time and again, their familial bond is a strong one.

(And on a tangent, I kind of love that they keep picking up strays along the way.)

Anyway - Benedict is up next, happy to see his brother return - but it's Benedict gives him a curious look -- noting the physical changes, but we'll get to that comment in a second.

Time to talk about this infamous moment...

Penelope first... the moment he looks back to her, she gets excited - she's so giddy like -- here is her chance to possibly, maybe sneak in some physical contact. Which does make me wonder, they have danced together, held hands, he has brushed her arm. Has he hugged her before? She isn't his sister, but as we'll get into later in the episode, he doesn't think of her on the same lines as all the other women of the ton, either.

And then, oh, the awkwardness of her outstretching her hands just a little bit as if to receive a hug, only for the little Bridgertons to come racing around the corner. And she backs off immediately, not wanting to draw attention to herself, nor wanting to put her desires on display.

I also want to mention, cause I'll be digging into it more with Colin, that this is the first time they're seeing each other since writing to each other (for however long that was). And it's implied it wasn't a small or short correspondence either. I mentioned intimacy earlier, and yes that, but that means they now share something with each other that the rest of the world hasn't gotten to see. And that's special. And whether it be romantic or not, the fact that they've opened up and shared a part of themselves that they haven't with others is really important to their story. Penelope feels that connection - she always has, in a sense, or has always wanted that connection, but she now knows there is a reality to it.

Meanwhile. Colin. Dude. This is in an intense way to look at someone. He definitely did not look at any of his siblings or his mother this way. It's almost as if - when he sees Penelope, really looks at her, he sees her in a different light (and I'll define that more in a second).

There's no doubt, based on what we saw in the first season, there was care and affection from Colin to Penelope. But there was distance there as well. Not only was he too wrapped up in Marina, she was also Eloise's bff, another girl around, one whom he enjoyed and found amusing to be around sure, but he didn't really notice her.

So they've had this written correspondence and she's is now divorced from all the other connotations she has -- childhood friend, Eloise's bff, girl next door... She is Penelope - he sees her as a person in a way that he hasn't before. And -- we all know Penelope is better in written word than in person, so I'm sure those letters were delightful (and abundant), a way to keep him connected to home more than his own family, and as he's finding, she's someone he truly does like being in contact with. She's smart and witty and clever and manages to get him (as we'll see) when a lot of other people don't.

And all of that comes into play during this one moment. Where he looks at her and it's this kind of -- yes, good, Penelope, I need to spend more time with her.

Which brings me to a conversation that may be best to kick off here. I've often seen discourse about how and when Colin actually fell in love with Penelope. And -- I think trying to pinpoint an exact moment is something we can’t do with Colin. Because it wasn't one moment that made him fall in love with her.

And, I mean, before I get more into that I need to say this -- love isn't a definitive thing. It can be on a spectrum. It can take different shapes and forms. It can be romantic and it can be platonic and it can be familial. It can be casual, it can be intense, it can be easy, it can be difficult. There isn't one type of love. And I think me hammering this point in is just that this is one reason I really love the Polin story so much. Because it isn't about bam! in romantic/sexual love. It's about growing together and changing together and discovering love that's always been there.

Colin, in this moment, loves her. I don't think he necessarily recognizes it as that. And I don't necessarily think it's a romantic love, either. What he does know - and what this look signifies, is that he's coming back from his travels knowing that this person has changed his life, and he wants her in it more. She had bared herself in those letters, but so did he. And she saw him, too - which will be important as we go on. She is special to him. So even if it isn't romantic or sexual, it doesn't matter. They're connected in a way that they aren't to anyone else in their lives, and that's the important thing.

And... we're back to reality. Hyacinth and Gregory push back to jump on him as little siblings do. Benedict and Francesca tease him about his looks. It's also very much on brand for families (and I love it!).

Penelope, of course, gets that little sneaky line of stating that he looks distinguished -- not only defending him, but taking a rare moment to comment her admiration out in the open. Not that anyone notices her (and I think she's alright with that), but again, it's funny at how much she's backed off from the confidence she was showing in the first episode.

We don't get to see Colin make any kind of acknowledgement of what she said. The little Bridgertons are too busy arguing about their height (which, again, is such a sibling thing).

And, of course, we wrap the scene with the return of the 'intrepid viscount'. Eager and ready to take us to the next portion of the plot -- which happens to be a family outing to the races. And Colin is such an after thought, it's almost funny. Yo, Colin's back, great, I have to go best a girl, everyone to the races!

Colin doesn't get a moment to breathe (or unpack) -- family outing! Now!

Changes at the Featherington House

Penelope returns home from the Bridgertons to find that they've got some new decor at home. Jack has put up his musket rack, and the women of the Featherington house seem a bit (hilariously) perplexed by it.

Penelope calls him 'cousin Jack' and Portia is off-put by that. It's too familiar for her liking. Penelope calls her on it, wondering if Jack is bothering her, but Portia claims that it's fine. (It's not.)

Penelope almost doesn't know what to do with any of it. There are a lot of guns and a lot of deer heads and, you know, nice to have a little of that Americana pop up in this hoity British story (said with love). Jack comes in - claiming that there's a lot more decorating to do. Portia wishes he'd leave it to his own room, but Jack's like - nah.

Penelope goes from somewhat disgusted to intrigued very quickly. Her asking about whether or not he's shot them all feels -- a little crude and blunt, but also kind of hilarious for the moment. Jack tells her there are a lot of adventurous stories to tell -- and we all know Penelope loves a great adventurous story. She is still all in on Jack, despite Portia being pissed about all of it.

Jack tells them to all get ready, because they, too, are off to the races! (I love that this scene is there to somewhat tell Jack's backstory, but to also give them a reason to be at the races so they can continue with plot.)

And here we stop for now, first toe dipped into an episode that I really enjoy. :)

[svtswhorehouse]

SWIPER NO SWIPING

wc: 7059

[fortes-fortuna-iogurtum]

.

[foreststarflaime]

I think all of October should be a get-work-and-school-off holiday

[right-on-therocks]

Hello I am making my way around the criminally small high potential fandom to ask if you have any neurodivergent Morgan hc?? Because babygirl is so me

omg an anon hiiii!!!!!!! hihi hello!!!!!!

personally, as someone who is very neurodivergent myself, Morgan is 100% neurodivergent to me. Technically! High Intellectual Potential (HIP), the condition Morgan herself states she has, as far as I can find is a real thing?? and falls under the category of ND.

however- as well as this, I'm v partial to hcing Morgan as autistic (as well probably adhd+ocd) and if you haven't seen it yet there's some really nice moments between her and her son Elliot, that very much read like her comforting him while he navigates his own ND experience. Elliot is also certainly autistic and I love him SO MUCH.

plus: there is THIS post which i love that also hcs that Morgan and Karadec both autistic, which I hold very dear and very much agree with. also! this post too! AND I will also point u towards my good buddy @gingerpeachtea for thoughts on morgan/karadec w/ ocd. adam karadec they know who what u are <3

she is so so deeply dear 2 me... and also soooooo very NOT neurotypical... i love her so much

[outfoxt]

Another Käärijä Research Project

aka: käärijä style-shifting project

as a preface, here are my (non) qualifications for this project and the circumstances under which it happened:

I am a linguistics student, and this past semester I took a course on sociolinguistics. the goal of this project was to become familiar with the concept of and analyze style-shifting (it's more commonly known as code-switching online but theres a difference and this is style-shifting), specifically by analyzing the speech of one person. We had the option to study oprah or to have someone else approved by my prof, so you know I had to ask my prof if I could study jere. This project is solely my intellectual property; even though I had a tutor help me a lot, everything written in this paper and on this post was my work alone.

now, on to the actual findings! the full paper and transcripts will be linked at the end :D

the actual variables (words or sounds) that I studied were the pronunciation of r, and use of the word "the".

to make things a lot easier from the get-go, i'm going to introduce you all to one of my favorite websites, ipachart.com (the international phonetic alphabet [ipa] chart is a big chart with an entry for every sound that exists in a language. this handy dandy website has an audio recording for each one of those sounds).

go to this website, and then scroll down to the table. go to the column labeled "post alveolar" and then click on ɾ and ɹ. those are the sounds i studied in this paper! ɾ is the finnish r and ɹ is the american r :)

so basically what i did to find instances of my variable was i just looked up a bunch of esc interviews and listened out for use of the different r sounds. i also transcribed the entire dinner date live because i love torture apparently :) the specific interviews and lives/stories are in the bibliography of the paper :p

after i transcribed all the interviews and lives/stories i went through and highlighted every instance of the r sound. then i calculated the ratios of ɾ to ɹ based on the context they were spoken in. the two contexts i looked for were formal contexts (sit-down interviews) and informal contexts (literally anything else).

i found that jere uses ɹ WAY more often in formal contexts than he does in informal contexts, and the same in reverse with ɾ.

i then went back to the transcripts and looked for all instances of the word "the". i also looked for instances where i thought it should be present, but was omitted. i calculated the ratio of present vs omitted "the"s in formal vs informal contexts and made some charts.

the graph with the smaller black section is "use of 'the' in formal settings" and the one with the smaller green section is "use of 'the' in informal settings" (the images are transparent, sorry)

i found that jere uses "the" WAY more often when in formal settings! there were also some instances where he added a "the" where it was unnecessary, which is studied at length in this wonderful paper by @alien-girl-21

something i also noticed that i elected not to study because this paper took enough energy on its own was that in formal contexts, whenever the "or" sound came in the middle or at the end of a word, jere wouldn't pronounce the r. it stuck out to me mostly because i heard words like "performance" turning into "perfomance", which i thought was an interesting quirk.

unfortunately i was somewhat limited by both my brainpower and capacity to do more work on this paper in the relatively short timeframe i was given (2 weeks) and the fact that i was given a 5 page MAX for this paper (not including a bibliography). i had a lot of fun doing this though and am definitely planning on studying jere for for academic credit again in the future if given the chance!

also i would like it to be known that i spent an hour searching for that 5 second clip of the urheilucast where jere said that he used to sell kitchens and understands english better than he can speak it.

link to a google drive folder with the actual paper i wrote and the transcripts of the interviews with notation:

please feel free to send me asks and dms with questions or comments about this paper! i absolutely love rambling about linguistics :3!!