#i love the dynamic of Elizabeth and Mr Darcy

[demonic-mnemonic]

Decided to read Pride and Prejudice as an extension of my Good Omens obsession, as one does. I just finished it and all I have to say is, man...I have never in my life read a book where so much nothing happens

[anghraine]

It's kind of fascinating to me that towards the end of P&P, Elizabeth has become protective of Darcy and either a) actively tries to insulate him from Situations or b) wishes that she could and gets stressed that she can't.

Darcy deeply loves her and is very ready to do whatever he can to secure her happiness, but narratively, I think the emphasis at the end is very much more on Elizabeth's protectiveness towards him.

It's like:

When Bingley and Darcy first come back to Hertfordshire, Darcy is very quiet and Elizabeth can barely bring herself to say anything—until Mrs Bennet insults Darcy. Then Elizabeth speaks up.

Mrs Bennet enlists Elizabeth to separate Darcy from Bingley with another insult to Darcy. Elizabeth finds this both convenient and enraging.

That day, Elizabeth decides to privately tell Mrs Bennet about her engagement to Darcy, specifically so that Darcy will be spared Mrs Bennet's first unfiltered response.

Elizabeth fiercely defends Darcy's character and love for her, as well as hers for him, to Mr Bennet. She not only says she loves Darcy but that it upsets her to hear Mr Bennet's criticisms of him.

Elizabeth is both relieved by Mrs Bennet's ecstatic reception of the engagement and a bit disappointed by how completely shallow she's being about it, and 100% sure she made the right call in keeping Darcy away.

Elizabeth defends Darcy against Darcy himself, repeatedly.

There's a period where Elizabeth seems to unwind and laugh, but this passes, especially after Charlotte and Mr Collins show up. Darcy manages to stay calm around Mr Collins (I think this is framed as a significant and admirable achievement for him), but Elizabeth does not like him being in a situation where he has to deal with Mr Collins in the first place.

Elizabeth tries to shield Darcy from being noticed by Mrs Phillips and Mrs Bennet, who do seem to make him pretty excruciatingly uncomfortable.

Ultimately, Elizabeth ends up trying to keep Darcy to herself or to shepherd him around to relatives he can handle more easily, and is so stressed at this point that she just wants to get married and escape to Pemberley.

After their marriage, things are actually great at Pemberley and in their married life, despite the occasional complication.

Lydia writes a congratulatory letter to Elizabeth, asking for Darcy to get Wickham a promotion unless Elizabeth would rather not bring it up with him. Elizabeth really does not want Darcy to have to deal with this and handles it by privately setting aside a Lydia fund out of her personal expenses. (IIRC, it's not clear if Darcy even knows about this.)

Elizabeth also is the driving force behind Darcy's reconciliation with Lady Catherine.

This could read as an unsettling, unbalanced dynamic and a very odd ending point for the arc of a woman like Elizabeth, but in the context of the overall novel, it doesn't feel that way. Or maybe I'd see it more that way if I interpreted Darcy (and for that matter, Elizabeth) + their arcs differently? But as it is, I do think that by this point in the story they are genuinely doing the best they can, independently and for each other, and they've both come a long way. They shine in different contexts and support each other as much as they can in the circumstances that do arise.

It seems very them, in terms of their temperament and abilities, that Elizabeth would put all this effort into shielding Darcy, while at the same time, Darcy completely cuts off Lady Catherine for insulting Elizabeth and only ever speaks to her again because Elizabeth wants him to.

[bethanydelleman]

Do you think the Austen heroines will get along with each other? Who do you think will become close friends and whose personalities will clash? (please include secondary heriones like Jane Bingley, Marianne, Jane Fairfax, Miss Crawford etc.) in your analysis as well

To be honest, I think most of them would get along because of the societal demands of mixing and their solid moral base, but here are some predictions:

Best friends:

Marianne Dashwood & Fanny Price, both of them are super into poetry and rhapsodizing about the outdoors. Marianne can stand up to Fanny's attackers and Fanny can teach Marianne some temperance.

Elinor Dashwood & Jane Bennet, they both are carrying the family in times of need, both disappointed in love through no fault of their own. Elinor's clearer-eyed view of the world would help Jane take off those rose-coloured glasses, but Jane's love and hope would be warm to Elinor.

Elizabeth Bennet & Fanny Price, extrovert/introvert adoption. Elizabeth is delighted when Fanny finally starts to talk and it turns out she's super smart, but she would have kept her anyway.

Jane Fairfax & Fanny Price, in very similar situations and similar personalities, they get each other. Fanny is very worried about this Frank Churchill character.

Catherine Morland & Emma Woodhouse, a healthier and more equal version of the Harriet/Emma dynamic. And given social class, this is one that can be sustained long term. Catherine starts by admiring Emma and then catches up with her.

Harriet Smith & Catherine Morland, they would get so deep into novels together it'd be amazing. The fanfics these girls would write together.

Caroline Bingley & Emma Woodhouse, they would enjoy making fun of Miss Bates behind her back... they would make each other worse. Eventually Emma would look at herself in the mirror with disappointment.

Anne Elliot & Anyone, please anyone who is an intellectual equal. Do you see the people that she has to put up with? It's literal torture. I could see Fanny Price, Elizabeth Bennet, or Jane Fairfax.

Mentor/Mentee:

Catherine Morland & Anne Elliot, Anne is the oracle of all knowledge and Catherine admires her exceedingly. (Fanny Price would also work here)

Elizabeth Bennet & Anne Elliot, Elizabeth could learn so much from her! Anne would see through Wickham in a minute. They could play some duets too!

Georgiana Darcy & Anne Elliot... just send everyone over to Anne Elliot. She's the group mentor.

Instant Hatred:

Elizabeth Bennet & Emma Woodhouse, Emma would be too much like Darcy and Elizabeth would hate her snobbiness. They would likely become friends in time, but it would be after a good deal of dislike.

Marianne Dashwood & Emma Woodhouse, Emma is not impressed by the drama and HOW DARE YOU CALL MR. KNIGHTLEY OLD! Marianne doesn't like Emma's attitude.

Elizabeth Bennet & Mary Crawford, they are similar and their personality tends not to like each other. Also, Mary C would probably try to take a mentor role with Elizabeth (as one who knows about town) and Elizabeth would hate her for it.

Catherine Morland & Marianne Dashwood, Marianne is astounded by Catherine's ignorance, because it tends in a different direction than her own.

(Honestly, the most clashing personalities are Marianne Dashwood and Emma Woodhouse, someone like Elinor Dashwood, Anne Elliot or Fanny Price can put up with almost anything placidly)

Bonus: Miss Bates & Mrs. Jennings would LOVE each other. They would totally talk at the same time. Another older lady pairing that would work is Lady Bertram and Mrs. Allen.

Feel free to add!

[irukasito]

i love that kkir is so versatile and everyone takes a different approach to them. like. to some people their dynamic is like elizabeth bennet and mr darcy’s. to others they’re like jim and pam. to the truly mentally ill they’re like marianne and connell. sometimes it’s all three at once.

[charminglygrouped]

Hi there! Love you stories and your take on Austen (as you know). Today though, I have a question about canon for you, if you wouldn't mind:

when Austen compares portraits she's seen to her P&P characters, she notes that she hasn't spotted anyone that resembled Lizzy; but that crucially mr Darcy wouldn't have allowed a portrait of his wife to be exhibited anyway. (Forgive me that I can't recollect the exact phrasing.)

This always seemed weirdly possessive or jealous to me, which — while Elizabeth had a say in anything — seemed both unlikely and to point to a strange relationship dynamic. But perhaps I'm missing something here. Can you make sense of it?

Cheers, Athena

Dear Athena (lately sprung from head of Jupiter);

I think the context of this remark is important. As you note, it's not as though Austen has determined that Darcy wouldn't allow his wife's portrait to be exhibited, merely as a result of her own reflections: at the time when she writes this, she has already tried to find Elizabeth's portrait and failed.

The letter in question was written to her sister Cassandra on Monday, May 24, 1813:

[...] Henry & I went to the exhibition in Spring Gardens. It is not thought a good collection, but I was very well pleased—particularly (pray tell Fanny) with a small portrait of Mrs. Bingley, excessively like her. I went in hopes of seeing one of her Sister, but there was no Mrs. Darcy;—perhaps however, I may find her in the Great Exhibition which we shall go to, if we have time;—I have no chance of her in the collection of Sir Joshua Reynolds’s Paintings which is now showing in Pall Mall, & which we are also to visit.—Mrs. Bingley’s is exactly herself, size, shaped face, features & sweetness; there never was a greater likeness. She is dressed in a white gown, with green ornaments, which convinces me of what I had always supposed, that green was a favourite colour with her.* I dare say Mrs. D. will be in Yellow. […] —Monday even—We have been both to the Exhibition & Sir J. Reynolds’,—and I am disappointed, for there was nothing like Mrs. D. at either.—I can only imagine that Mr. D. prizes any Picture of her too much to like it should be exposed to the public eye.—I can imagine he wd have that sort [of ommitted] feeling—that mixture of Love, Pride & Delicacy. Setting aside this disappointment, I had great amusement among the Pictures; & the Driving about, the Carriage been open, [sic] was very pleasant.

— Jane Austen's Letters, ed. Deirdre Le Faye. 3rd ed. Oxford: Oxford University Press (1997), pp. 212-3.

So she already knows that she has been unable to find Mrs. Darcy's portrait, and is trying to determine upon some reason why this should be so. She can imagine that Mr. Darcy would not like his wife's portrait to be in an exhibition of artworks, if pressed to come up with an explanation for its absence—that is, given the fact of the work's absence, that seems to be the most likely reason for it—but I think there's a distinction between saying this, and saying that she does imagine him not liking his wife's portrait to appear, apropos of nothing.

Even accepting that she does imagine this of Darcy, though, I don't think we should read this to mean that Austen is implying a difference between Bingley and Darcy in this regard. I imagine that, at the time that first paragraph was written, she wasn't thinking of the location of the painting in any literal sense—i.e., she didn't imagine the fact she had seen it at an exhibition implied the existence of a real-life Mr. Bingley, in-universe with her, who had lent the painting to the exhibition. She was just looking for any image that suited her idea of Mrs. Bingley, without reference to where it appeared. Later, however, when she has been unable to find Mrs. Darcy at either of the additional exhibitions she has gone to, she comes up with a post-hoc explanation for that fact by playfully switching to a literal lens, and bringing the physical locations and real-world provenance of the paintings into play.

Also accepting that Mr. Darcy did have such a mixture of "pride and delicacy"—I think we could only understand that feeling by placing it within its proper context. Patrick J. Noon (of the Yale Center for British Art) says that the titles of portraits are at this time "more often than not" changed when they are exhibited publicly, presumably so that artists could exhibit commissioned works while allowing the sitter to maintain anonymity (Rainbolt p. 41). So Darcy is far from the only person who would hesitate to have a painting shown in such a public way.

And these exhibitions were very public. The exhibition at which Austen found Jane Bennet's portrait was given by the Society of Painters in Oil and Water Colours (now called the Royal Watercolour Society), a prestigious society to which painters could only gain membership by being voted in by current members. The original goal of the Society (which was especially relevant around 1813, due to the war with France) was to demonstrate that watercolours could stand beside oils as a "prestigious public art" (Fenwick & Smith p. 1, emphasis mine); and that water-colours had national and nationalist importance, as they were "uniquely suited to the depiction of [England's] scenery and climate" (ibid.). This was a change from an 18th-century view of watercolours as suitable to quickly add some colour to a map or an etching or something, but not suitable to stand on their own as the medium for a painting.

(It seems completely bizarre to me that Fenwick & Smith don't mention this, but I imagine that the ideological work being done from the middle of 18th century onwards to take watercolours from private to public, from personal to national, from amateur to professional—was synonymous with the task of taking them from feminine to masculine. Serious, important, professional art is defined as art which men do. Women might paint watercolours of their friends as a refined accomplishment, but they were explicitly disallowed from being full members of the Society, and very few of them were ever 'associate' members.)

So these exhibitions have ideological, national, and political importance. An article on the Society in Ackermann's Microcosm of London is explicitly concerned with the development of English excellence in watercolours, and anxious that the improvements in English painting since the 1770s be recognised.

The Society's exhibitions are also significantly concerned with money. They were public, commercial enterprises, with fees being taken at the door, and some of the exhibited paintings available for sale. The male members of the Society would share the profits and debts thereof; the female 'associate' members shared any profits that were realised, but were not liable for debts.

The article in the Microcosm considers the history of English painting broadly, and the Society's exhibitions in particular, in this dual national and financial light: the excellence of English painting is held back by the fact that portrait-painting was, until the time of George III (1760), "almost exclusively patronised and rewarded," to the detriment of any other genre of painting:

the personal vanity of individuals, and the disposition of artists to make their works a source of profit rather than fame, [...] led them to cultivate a branch of their profession that returned their assiduities with emolument, instead of embodying upon their canvass the splendid achievements which confer immortality upon those who have performed, and almost equal honour upon those who record them in representations executed with taste, spirit, and expression. Whilst artists are content with that remuneration which portrait-painting affords, we shall in vain look for the sublime features of bold composition, or the imposing graces of chaste and decided elegance.

The founding of the Royal Academy (in 1768), then, was a good thing because it "a more extensive taste" for painting "was excited and encouraged" by the fact that artists could be paid for painting landscapes, classical scenes, &c., as well as for portraits of private individuals. The article continues to talk about money, how artists of the Society of Painters in Oil and Water Colours may have been attracted by the "possibility of deriving some profit from the exhibition of their work," and the fact that "exhibiting their works to greater advantage" would increase "the facility of sale by such arrangements as the first page of their catalogue announces."

The article also talks about how the paintings are laid out in the various rooms, and how audiences are likely to react to them based on their placement. Watercolours, and even more tasteful oil paintings, must suffer by comparison to oils that consist of "half an acre of canvass, covered with the strongest tints, enriched with the most gaudy colours, and glazed with a varnish calculated to heighten the already too powerful effect." I mention this because it shows that the exhibited paintings are being evaluated: if Elizabeth's portrait were exhibited, audiences and critics would decide whether it possessed "the imposing graces of chaste and decided elegance," and thus justified its existence and its exhibition; or whether it was "gaudy," or had been produced for no reason other than the personal vanity of Mr. and Mrs. Darcy. And then the critics would write up that review and publish it in Microcosm of London or Repository of the Arts or somewhere.

We have evidence that Austen is aware of this kind of evaluation in her letter itself: she acknowledges that the collection offered up for the censure or approbation of the public at the Spring Gardens "is not thought a good collection."

I think all of this context is important because it's not like she's saying that Darcy wouldn't allow the portrait out of his house or out of his sight or anything—just that he might not want it exhibited to the public to this degree. But also I think there's a danger of taking this sentence too seriously, lol. I don't think she's literally imagining a scenario where Elizabeth wants the portrait to be exhibited and Darcy forbids it. She's just trying to come up with an explanation for her own disappointment in a personal letter to her sister.

*See here for a summary of the quest to identify this painting.

Bibliography

"Exhibition of the Society of Painters in Water Colours," in The Microcosm of London: or, London in Miniature. Rudolph Ackermann, ed. Vol. 2. London: 1808. pp. 25-36.

Simon Fenwick and Greg Smith, The business of watercolour: a guide to the archives of the Royal Watercolour Society. Ashgate, 1997.

Martha Rainbolt, "The Likeness of Austen's Jane Bennet: Huet-Villiers' 'Portrait of Mrs. Q'." English Language Notes, Dec. 1988, 35-43.

See also

"Observations on the Rise and Progress of Painting in Water Colours," in Repository of Arts, Vol. 9, no. 49, January 1813, p. 24; ibid., Vol. 9, no. 51, March 1813, p. 146.

[marsprincess889]

Vedic astro mini post

Cow Yoni (Uttara Phalguni and Uttara Bhadrapada) trope

In my astro observations post, I said that their dynamic is enemies to lovers and I provided some examples. I'm gonna go further into that.

Not only does their love story involve a physical fight scene, but it also involves a dance, both being full of tension.

Uttara Phalguni is the second sun ruled nakshatra, beggining in Leo and most of it being in Virgo. It's mostly concerned with relationships and defining their identity through their relationships/popularity. People tend to naturally like them and they don't have to do anything, they're just likeable like that. Uttara Phalguni is the "star of patronage".

Uttara Bhadrapada is the last saturn ruled nakshatra, being opposite Uttara Phalguni and all of it being in the sign of Pisces. It's concerned with finding a solid, stable footing in life and doing that the only correct way: through honesty, bravery, hard work, strength and perserverence. It's the "warrior star".

It's not hard to see why they might be at odds. Their rulers_ Sun and Saturn are natural enemies, they're opposite each other, they're both stable nakshatras, they're both warrior caste, they want the same thing but go for it in very different ways. They're also very obviously meant for each other.

Example 1, The Mask of Zorro

Catherine Zeta-Jones (Uttara Phalguni sun and ketu, Uttara Bhadrapada moon)

Antonio Banderas (Uttara Bhadrapada moon)

I know they're both UBh moon but since Catherine has her sun AND ketu in Uttara Phalguni, I think that that in this movie that's the energy she's supposed to be representing, to be the polarity to Antonio's UBh moon.

They have a flirty sword fight AND a dance full of tension. If you haven't watched this movie I don't know what you've been doing lol.

Example 2, Pride and Prejudice and Zombies

Lily James (Uttara Bhadrapada moon)

Sam Riley (Uttara Phalguni moon)

This adaptation of pride and prejudice is the only one where both Elizabeth and Mr. Darcy are both cow yonis, and this one also has physical fights, a lot of them. When Mr. Darcy first proposes, Elizabeth becomes so angry that they physically fight with each other. Also, what's a regency movie without a dance scene? They also have one. Obviously, they're in love, but their stubbornness won't let them admit that they might even like each other. Both nakshatras being of stable nature and warrior caste, they REALLY defend their ground like no other nakshatra.

Example 3, The Great

Elle Fanning (Uttara Phalguni moon)

Nicholas Hoult (Uttara Bhadrapada moon)

In this adaptation of Catherine the Great's life she's a young girl with dreams and passion, eager to meet her future husband_ the young king Peter. She arrives with full intention of being the nicest, best wife possible(which is a very uttara phalguni trope), but upon truly seeing the state of Russia and trying but failing to like her eventual husband, she gets the idea of overthrowing him. Obviously, ultimately, no one wins that battle because they unwillingly fall in love with each other, through endless threats and misunderstandings, they realize that they've always had their common ground.

In all these stories, fighting is a natural expression of love and is weirdly mixed with it. In real life, cow yoni people are some of the most (if not the most) endearing people I know, they won't waste their time with you if they think that you're not worth it. If they fight with you, that means that they think there's hope for improvement. I'm saying this as Uttara Phalguni ascendant, I will distance myself from anyone I don't like without them even knowing about it, but I can be very stubborn with people close to me. I've also had the dynamic I mentioned with Uttara Bhadrapadas, no matter how much we fight, I ultimately love them.

So, if you have them in your life, it's good to know what I just said 😅.

EDIT: So I was rewatching Pride and Prejudice and Zombies and I realized that the dance scene was deleted 😭 oh, well, you can watch it on youtube.

If you're cow yoni or if you know them, let me know if this is true for you. Don't forget to interact with me, COMMENT, like, reblog, anything.

Take care🤍

[agendabymooner]

pride & pettiness || jb22 series (1)

jenson button x ofc (british actress!ofc)

EXTENSION TO THE MR. DARCY TYPE (SMAU)

Summary: Ada James Abbott was an actress first and a writer second, but it seems like meeting a certain Jenson Button added more to her title as she learned to love and list down the most significant moments of her life with him.

OR her book, Mr. Driver, consisted of diary entries and memories that Ada remembered still to this day. These are the contents of the journals.

Content warning: Use of explicit language, Pride & Prejudice references, email exchanges, journal entries + scenarios (per time skip), fluff, yearning, Mr. Darcy & Lizzie Bennet dynamic (with a bit more humour and less aloofness), strangers to situationship to lovers??

Note: I’ve been talking to @daaiissyyyyy about sharing this thing because I have kept it in my drafts for a while. This may not continue or may continue but enjoy xx

a - n masterlist

o - z masterlist

i. 2004 In which, Ada and Jenson met for the first time. Also when the British actress found him attractive until he started talking.

JOURNAL ENTRY 1: SILVERSTONE 2004 — MR. HONDA DRIVER IS A HANDSOME GIT

I thought Hugh Dancy was the most attractive and insufferable man to have ever existed. But then my manager generously forced me to attend a race in Silverstone that eventually led me to some man named Jenson Button. He graced the grid with his boyish smile and his trademark charm that made me wonder if girls had ever fallen to their knees to be with him. 

But his charm was arrogance in disguise. Who would have thought that a man so handsome could be stupid enough to downplay a stranger’s ability? Especially if he hadn’t seen enough of what I do? He doesn’t even know who I am and I don’t think that he is ever interested to know— but his jokes said otherwise. The endless flirting wasn’t the only thing that had my face flushing. 

I probably overthink his jokes and had taken it to heart. But I can’t be blamed for that. He’s just attractive and I thought that he had potential. Then again, I shouldn’t expect too much from men. 

SILVERSTONE, ENGLAND

Martin Brundle and his Grid Walk was the best part of the race; each celebrity or guest who graced the race with their presence loved having a conversation with him. 

Ada James Abbott’s experience, however, was something of a memorable one. After all, meeting the most handsome man to have ever existed happened there. Live on the telly with his stupid attractive smile. 

“The movie, King Arthur, is in its first box office week. You happened to play Guinevere,” Martin pointed out, making Ada nod and grin.

She stood next to him with all the smiles that she could offer — just happy to be recognized by someone in this industry of sports. The former driver then continued, “And you’re here in the grid now to spectate and enjoy the race— do tell: why were you not here the last time when the Pirates of the Caribbean movie came out? We were anticipating your appearance as you have obviously played the role of Elizabeth Swann. I was hoping to tell you more about what I thought of it.”

Ada giggled quietly before answering, “The schedule was quite tight during that time with having to go to tours and promote the film and filming other works in progress. We can absolutely discuss what you think but I do not think that it’ll be something that everyone would like to hear about on such a busy day!” 

“Are you a fan of Formula One?” The reporter asked, a glint of curiosity washing through his features as he waited for the British actress to answer. 

Ada then hummed, “It used to be something I watched. My father tried to rope me into watching it with him before, but it seemed to be only effective for my brothers Ralph and Nathan. I would watch at least… a race every month. It’s- yeah- it’s not something I would watch by myself so being here now and watching the real thing is an experience my dad would kill to see firsthand.” 

“And you’ve met the drivers from the team you happened to be a guest in?” 

“I did,” Ada replied with a nod, “David Coulthard, or DC— he insisted that I call him that— is a lovely man. He ran through the basics of his car and obviously had put up with my lack of knowledge in the technical aspects of the race. Kimi Raikkönen is a rather reserved one, and we’d obviously have to work on our relationship because of the lack of communication. Otherwise, it is amazing! I’m quite fortunate to be at the McLaren gar—“

“Would you look at that beauty!” Ada turned towards the direction of the voice and found herself staring at the facial features of the speaker. 

A handsome man, he was. 

“I think that you are speaking about yourself, Jenson,” Martin joked as ‘Jenson’ approached the two, now standing next to Ada as her face flushed red. “That head of yours would make the car lose its balance.” 

“I didn’t say anything about myself,” Jenson scoffed playfully before peering down at Ada with a… smirk.

Ada lost all of her senses as Jenson began to speak, “‘Sides, if anything— this pretty face would make me lose my balance.” 

“I assume that you’ve seen Ada James Abbott before,” Martin piped up, making Ada glance at the man and shift back to look at him.

She wasn’t able to see the handsome man, Jenson, next to her, but she could remember how the upper part of his race suit hung from his waist and how his eyes lingered on her. 

What she wasn’t able to see however was the shaking of his head. Martin then continued to speak, “She’s quite an amazing actress, Jenson.”

“Is she really?” This comment had Ada turning as she looked at Jenson, whose smirk continued to grow while he spoke. “I’d believe any lie that you would tell me, especially if I’m being graced with your beauty.”

“What is that supposed to mean, exactly?” Ada spewed out, slightly baffled as he laughed heartily. 

“I’m just saying,” Jenson winked at her, “I’ll believe it when I see a trophy, darling.” 

With one comment, all the butterflies in her stomach had turned into something more sour. Ada Abbott’s smile turned strained as she only nodded before looking back at Martin Brundle. She wasn’t about to give this man the time of day right now. Perhaps he’d have to either retract his words or at least act like he just insulted her on live television instead of joking around like nothing happened. 

JOURNAL ENTRY 2: EAT YOUR OWN WORDS, MR. HONDA DRIVER.

I just won my third trophy of the year. It’s quite amazing. But there’s something wonderful about making Jenson Button eat his own words. It was probably my pride that asked for his email address but sending him an image felt nothing of malice but satisfaction. God, did it feel so good. 

TO BE CONTINUED

[swordsandarms]

When I think of how Lyanna is seemingly (mis)understood in spite of contradicting clues in the story, I think of how it happens with Elizabeth Bennet (Pride and Prejudice) and a similar typecasting as the one dimensional "spunky, bold" kind of girl.

Elizabeth has her flaws, but that is not being a stubborn girl screeching about love in spite of her family's precarious financial future - hence her own, too. Elizabeth pragmatically turns away from her infatuation with Wickham before it turns into more after one warning from her aunt that they would both be in ruin, and she considers accepting an offer from Colonel Fitzwilliam whom she doesn't love, but they have a comfortable dynamic that she thinks of as enough. On the other hand, she also rejects the man who would inherit Longbourn, Mr Collins - a marriage that could have saved her family - and even her eventual love interest, Mr Darcy - awfully wealthy. Which gains her the cliche characterisation.

But Elizabeth's problem is she is wary of marrying a man she cannot even respect - not necessarily love. It has impacted her since childhood due to the unfit marriage in character and intellect between her own parents, and she can understand the need to marry for financial stability, as long as she can have a reasonable mutually positive dynamic with her partner, but to not even hold respect for someone she'd be tied to for life is the ultimate misery to dive into.

Likewise, Lyanna doesn't even corner her brother about not being madly in love with the man they chose for her. She challenges his character, calmly and rationally - her argument is very much that love cannot make up for unequal character. She also brings up Mya Stone not because she is a hypocrite against bastards, but because she has come prepared with facts for argument - which is exactly as what Ned remembers it, a true fact which corners him in his side of the argument. He doesn't challenge Robert's deficiencies. He's the "naive" one saying love/a woman will change him. He's the oldest but not the mature one - he's the silly romantic blinded by a man's charisma and charm for most of his life. (In Lyanna's eyes, he would also be a man who proclaimed to bring an innocent KOLT to the Mad King himself for the sake of glory - fact which must also sink his character).

Because Jane Austen isn't George Martin and in a different genre, Elizabeth Bennet gets to marry a man who is rich, AND handsome, AND the love of her life - all ONLY after he gains her higher regard in his character and virtues. (Darcy himself isn't some cliche of a man changed by love as naive Ned would have life work. He has the spine to admit Elizabeth is right, and he initially wants to let her know that upon re-meeting her, and that all that is not what he thinks a man should be - what he wants to be - accountability, something so crucial, yet something that Robert Baratheon would only - and that barely - prove only on his death bed).

But Lyanna's unknown POV past Harrenhal completely erases the clues of Robert's lowly character being unveiled to her in person. She is portrayed as stuck in the "naive"/"hypocritical" role of the girl who once before Harrenhal has told her brother she for the time being had bad feelings about this man for a start (those having turned out to be good instincts long term, and at the least informed short term, mind you).

KOLT is not about Robert, and not even about Rhaegar, though I would say his actions bear more interest fandom wide. But it is about Lyanna. And while within that perspective it might also be about what Rhaegar's actions mean to HER POV, the fact that Robert is also there, that he would have at this point in time her attention as the man chosen for her, the few mentions of what she must be seeing while to the reader they're ignored or dismissed - simply because we're narratively PAST that, and the next thing we know of Lyanna is that she's PAST HIM.

But Robert is there, and Lyanna is thrown in his company. Howland doesn't care - Lyanna is the hero in this defining episode of his life. HE's just the Storm Lord who is getting drunk and shouting about giving the KOLT to the mad King himself. But somewhere Lyanna is watching. The debauched lifestyle. The man who puts his own pride and potential for glory ahead of an innocent's wellbeing. The man who would soon be "just rolling in for a fight" in a war that defined a continent because life to him is a party and a game.

But women cannot be individuals with a dignity of their own. If they have any consciousness they better be fighting the patriarchy in the trenches or they are spunky selfish girls wanting shallow things instead of sacrificing for the family's wealth and status. There's no in between.

[dearausten]

just rewatched pride and prejudice 1995 and i loved it, even more than before! here are some thoughts:

- the best thing about this adaptation is, to me, the performance of jennifer ehle as elizabeth. honestly, she nails everything about her character, in my opinion. from lizzy’s wit and sense of humor to her firm resolution in rejecting darcy the first time and dealing with lady catherine, while also displaying all her conflictimg emotions not only during the whole wickham affair, but also when she found herself longing for darcy’s good opinion (who knows why!). she was absolutely charming and one can’t help but root for her.

- this might be obvious, but i love how it is pretty much the same as the book! it’s very clear that having six episodes worth of screen time instead of two hours as you get in movies played in their favor.

- i love the bennets! i love seeing the sisters interact! i love seeing them in their daily lives and watching their dynamics. i also think they got almost all of the characterizations perfectly. lydia, kitty, mary and mrs. bennet were all on point! however i do feel like they toned down mr. bennet’s flaws and only focused on the funny/sarcastic side of his character. other than that, i liked him too :)

- i’ve seen many people who don’t like this mr. collins but honestly i really enjoyed him. he was ridiculous and absurd, and he annoyed the fuck out of everyone, which is accurate lol. i do wish they’d made him age appropriate bc... that man is not 25 lol. anyways, i actually thought this collins was more accurate than 2005!collins.

- oh, caroline, you sneaky thing! i have nothing to say about her, really. i think she was portrayed very accurately as well. and they included the hursts!

- mr. bingley was good too! love me some golden retriever energy

- and, of course, how could i not talk about colin firth as darcy! he was DISGUSTED to be around common gentry people. he looked like he’d rather hang himself from the ceiling than be in those goddamn social gatherings for one more minute. he was so displeased with everyone and clearly thought they were nothing but a pain in his ass, and i love that lol.

- but OH MY he’s a simp! he can’t stop staring at elizabeth for the life of him. istg he is so fascinated by her. that scene at rosings when lizzy is talking to colonel fitzwilliam and darcy just stared at them while she roasts the fuck out of him????? top tier

- one thing i adored about his performance was just how miserable he looks when she isn’t around! and mind you, this is DARCY we’re talking about.

- the lake scene was great, but CAN WE TALK ABOUT THAT LOOK THEY GAVE EACH OTHER IN THAT ONE SCENE???? YES, THAT LOOK. YALL KNOW WHAT I’M TALKING ABOUT. IT MAKES ME WEAKKK

- the ONLY note that i have is that i wish he smiled more, especially when they meet after the letter (but before that too)

- honestly the only bad thing i have to say about this adaptation is that the second proposal felt a little... underwhelming. it’s supposed to be this big emotional moment why do they look like they’re talking about the weather 😭

my conclusion: i’ve worshipped 2005 since the first time i watched but i feel like i’ve just become a 1995 stan, it was just so so good and so faithful to the book. and yes, i finished it two days ago. yes, i’ll be rewatching today.

[blush-and-books]

QUESTION how does darvey compare to ur other ships?? i feel like their shared body language and the way they convey HISTORY is so unique ahaha

this is actually a great question and i would absolutely love to know your own other ships vs darvey, bc darvey is so different from so many of my ships!!!

i will say that joyce x hopper from stranger things is probably the only ship i have that even comes close to having any similarities to donna and harvey because of that sense of shared history, partnership, and platonic support leading into romantic support. but for the rest of my ships, it's like so opposite.

one of my main ships that is one of my most tagged ships on my blog is Julie and Luke from the netflix series Julie and the Phantoms!!! this series devastatingly only got ONE SEASON but had a huge following on tumblr. compared to donna and harvey's nine seasons and canonical 13 years of buildup, that inherently makes the ships very different, because Julie and Luke do not become "canon" (although mutual romantic feelings are made pretty darn clear). Julie and Luke have history together in an offhanded way - Luke is a ghost, and when he was 17, he actually met a young Julie's mom before she had Julie, and then he died, got trapped in purgatory(?) for 25 yrs, and then was brought back into the world as a ghost where he met Julie (after her own mom had passed away). This has resulted in a LOT of theories regarding them being soulmates - their characters mirror each other so well to the point that the colors of their costuming is often matching or inverted to each others clothing. They both have an undying love for music, mommy issues, and they fit together like two peas in a pod. Literally there's only one season of buildup, and there are over 3,000 works of fanfiction for them on ao3. Julie and Luke truly couldn't be more different lmao, because a lot of the magic that comes from them is a sense of destiny, inevitability, and their instant ability to be vulnerable with each other. With Donna and Harvey, the romance comes from the steadfast partnership and daily choice they make every day to choose each other.

Another big ship of mine is Anne and Gilbert from Anne with an E (or the whole Anne of Green Gables book series lol, but them in the AWAE tv adaptation is so good)!! They have a good amount of buildup and a sense of choosing each other, but the stakes are nowhere near as high as they are in Suits. Gilbert is so down bad for Anne the whole time. He's so the perfect man that I have a framed photo of him in my home. The TV show introduces us to their plotlines and character arcs as parallel tracks as they are finding their way through life and eventually meeting at the same place, whereas Donna and Harvey are definitely just on their own crazy journeys until they crash into each other and are finally in a place to be together. However, a very silly parallel that Anne/Gilbert has with Donna/Harvey is there is a sequence of Person B running to Person A when they realize that they're meant to be together. And Person A is a redhead.

Other ships I have are like Nina and Fabian from House of Anubis, or Zuko and Katara from ATLA. Also Mr. Darcy and Elizabeth Bennett from P&P. I think a lot of my ships involve the man blatantly worshipping the ground that the woman walks on and constantly being complimentary and admiring of her; where we get only crumbs of that kind of dynamic with Donna and Harvey. Harvey definitely thinks, and has stated as such, that Donna is the most amazing woman he's ever met, but because Donna and Harvey are not thee main plotline of the show or even arguably the main relationship (when compared to Mike and Rachel), there's a lot less room for there to be blatant moments where Harvey is like "wow she's amazing!!!" because he's just not that guy.

please also let me know your thoughts on this and what ships you have!!! do we share any?

also, my response to your domestic!Darvey ask is still unfortunately in the works. i just want you to know i did not forget about it!!! <3333

[cocoscurios]

Me: I'm so busy, I need to finish a few projects.

Also me: So we should definitely start a new project then?

Anyway, chapter-by-chapter commentary for The Hour, the Spot, the Look, the Words, starting now!

Chapter One: A Place to Call Home Fun fact: I originally planned for The Hour to be a series of drabbles (I was writing Important Nothings at the time and wanted to do a Darcy/Elizabeth project in the same style). I very quickly changed direction when I realized I had a ton of material ready to go in the form of a million D/E scraps accumulated over years of writing about these two idiots. Also, I had no idea what to use for a chapter title here, but I was working in a library at that point, and A Place to Call Home was an enormously popular series with our patrons (I put those DVDs away so. many. times.). Voila, chapter title.

The newlywed Darcys had, at last, arrived at Pemberley, and Fitzwilliam had dismissed the servants.

“I will show Mrs. Darcy around the place,” he had said.

Elizabeth glowed with happiness at the words Mrs. Darcy, and Mrs. Reynolds had positively beamed at the pair of them. Mrs. Reynolds is lowkey the hero of Pride and Prejudice, and, let's be real, she ships Elizabeth/Darcy harder than any of us.

Fitzwilliam offered her his hand. “Shall we?”

She took it with a smile and allowed him to lead her up the stairs, giggling as his pace increased and he took the top few steps at a run.

He turned around to look at her, his face shining with a boyish delight that she had never seen before.

“What would you like to see first?” he asked.

“Oh, I do believe I should inspect everything,” said Elizabeth archly. “The mistress of Pemberley ought to, you know.”

He smiled at this phrase. “I quite agree.” Some Courtney Lore that I have alluded to: my best friend and I came up with elaborate backstories and headcanons and scenarios for pretty much everything in Austen, and especially P&P, and this scene has lived in my mind, in one form or another, since I was about sixteen. We basically plotted out The Newlywed Tour as a way to thoroughly map Pemberley. I could draw up the blueprints if I had to. 

And so he did show her around the place, all of the rooms that she had seen before, and many, many more that she had not.

“I am a bit frightened, Fitzwilliam, of getting lost in your house.” 

“Our house,” he corrected. “And you will learn your way around soon enough.”

“That is very true,” she said. “And after all, I do not intend to be apart from you long enough to have the chance to lose my way, so I shall always have a guide.”

The tour was very enjoyable, but still more was the pleasure of feeling her hand in his, and of hearing his obvious gratification in speaking of Pemberley, his eager anticipation of showing her all of his favorite spots in the house and on the grounds, and his wish for her to see them all to their best advantage. She let the sound of his voice wash over her as he told her of names, and dates, and events, content to listen and to admire him equally as well as the estate.

He led her to yet another door, pausing slightly before opening it. They stepped into an elegant, airy sort of room with a spectacular view. 

“This was my mother’s favorite room,” he said softly. I'll explore it eventually, but my headcanon is that Darcy's relationship with his mother was much more complicated than with his father. It wasn't bad! He loved her very much! But the dynamic was complex! 

“It is beautiful,” Elizabeth breathed, leaning into his arm and taking in the sight. The windows were large, offering a delightful prospect of the grounds glistening with snow, and it would be an even more magnificent sight in the full bloom of spring. It seemed a serene, restful space; she could easily see why Lady Anne had loved this room. I struggle with writing descriptions of places. I vividly recall trying to write about this damn room, when all I wanted was to put IT'S BREATHTAKING, THIS IS A BIG GESTURE, LET'S MOVE ON. I'm just saying, this mediocre paragraph took ages and caused me physical pain. 

“I would like for you to have it.” He had watched her intently and seen all the delight that had passed over her face.

She looked up at him, startled. 

“Oh, no, if it was your mother’s favorite, it should stay as it is." She thought of his father’s favorite room, kept so perfectly that the miniature of Wickham still remained. One of those details about Darcy that I find endlessly fascinating. I want to know how often he goes into that room; if he avoids it entirely or averts his eyes from That Man when he's in there or if he just grits his teeth and bears it.   "I could not possibly--”

“Georgiana and I have already discussed it,” he said, looking at her earnestly. “This has not been our mother’s sitting room for a very long time. If you like it, it is yours.” Headcanon about Darcy is that he includes Georgiana in a lot of this sort of decision-making. 

“I do like it,” said Elizabeth, touched.

“It is settled then.” 

He squeezed her hand gently, looking pleased. She took one last look at the room before they shut the door once more. The view really was breathtaking, and it was hers. The house was hers. This wonderful, honorable, good man was hers. What had she done to deserve such happiness?

Lost in these thoughts, she scarcely noticed that Fitzwilliam had paused again, looking wistful.

“Georgiana and I used to race down this passage,” he said, smiling slightly at the reminiscence. 

Elizabeth looked at him with amazement.

“When?” she asked. She was unable to picture it.

“It would have been when I was about sixteen or so,” he said, “just after my mother died. Georgiana was four. My father--” he hesitated. “That was a difficult period for all of us. I spent most of my time with Georgiana. It seemed to bring her some happiness, and we spent hours up here.” He gave a crooked little smile. “We made a great deal of noise and destroyed our stockings." Darcy is the best big brother ever, guys. I'm not sure what else to tell you.

And Elizabeth could picture it now: her husband, so much younger than she had ever known him, comforting his little sister by running up and down this passage, laying aside his own grief to help relieve hers. There were so many little things like this that she did not know about him; a seemingly endless stream of evidence to prove how kind he had been for so long, how rightfully beloved he had been to the people in his life, how badly she herself had misjudged him. The Mrs. Reynolds chapter in canon is SO IMPORTANT. Darcy is good and kind and generous to his people. He is not a complete jerk, totally reformed by Elizabeth. He is a situational jerk, rightfully shamed by Elizabeth to extend his natural goodness outside of his comfort zone. ;)

...Sorry, that's a pet peeve.

She wanted to know everything. 

They continued to wander through Pemberley, looking into more rooms than Elizabeth could count, and eventually found themselves at the top of another sweeping staircase.

“My father and I used to slide down this balustrade when I was a boy,” Fitzwilliam said fondly. “It is the best one in the house.” BLATANT HOMAGE TO ELLA ENCHANTED. Not even an homage. BLATANT STEALING FROM ELLA ENCHANTED. Ella/Char was my first real OTP (Felicity Merriman/Ben Davidson predates it, but I didn't have the terminology then. I've been a hopeless romantic since I was about six). I was thrilled to learn recently that Gail Carson Levine had some elements of Elizabeth and Darcy in mind with Ella and Char. Anyway, imagine your OTP, etc.

He smiled at Elizabeth’s expression. 

“I begin to believe, Fitzwilliam, that I shall never stop being surprised by you.” I think that Elizabeth loves this. 

This provoked from him a more mischievous look than she had imagined him capable of forming.

“I cannot always be serious,” he said, his eyes sparkling. “I will catch you at the bottom.”

With a laugh, she watched him go, feeling all of the privilege of seeing this side of him, and then followed him down. One of the things I return to, again and again, is Elizabeth getting a side of Darcy that few others see. It's just so warm, guys, I don't know. <3 

[anghraine]

I saw a popular author post about how, while of course Elizabeth has some obligatory flaws, Darcy's are exponentially more severe, and it was like stepping into a view so far removed from mine that it was almost disorienting.

The thing is, I periodically see people wondering why Elizabeth/Darcy is such a behemoth in Austen fandom when either/both of them have substantial flaws that the narrative doesn't shy away from. Their flaws aren't identical, but they do obviously mirror each other and are thematically intertwined, with reflecting character arcs and specific beats. As I see it, the novel maintains a tense and careful balance between them—not in terms of centrality (Elizabeth's mistakes and growth are more central to the narrative than Darcy's IMO) but in terms of the weight given their flaws and virtues.

And for me that's essential to their appeal!

I love plenty of other Austen characters and relationships, but for me, personally, none of the other canon pairings are balanced in such a fun and satisfying way. The closest (and the other most conventionally romantic pairing in Austen IMO) is probably Anne/Wentworth, where at least the choices of both of them are heavy contributors to their current problems. But a) the novel is ambivalent as to whether Anne actually erred morally in the first place and b) that is long in the past by the time of the novel; the Anne of the main story of Persuasion is a fairly idealized figure by contrast to Wentworth.

I sometimes see arguments that, say, Anne or Mr Knightley or Elinor Dashwood or whomever are actually as flawed and prone to error as their romantic counterparts, but I just ... don't buy it, honestly. As far as canon Austen goes, I only really see that balance in the course of the main story with Elizabeth/Darcy. P&P loves them and holds them up as admirable (and they are!), but it also loves undercutting them in clearly paralleling ways and does it over and over throughout the novel.

So the idea of an Elizabeth and Darcy where one of them has obligatory storytelling flaws that can't seriously be compared to the other's is just ... blah. It cuts out the fundamental interconnection and resonance between them that I think is built into the structure of the novel down to its bones and is what makes their relationship special. A lot of stories pay lip-service to that kind of dynamic, sure, but despite the many (many) imitators, I don't often see it done successfully. But P&P is the real deal.

So yeah, when people are like "why do people like Elizabeth with Darcy so much when she could have a different man who doesn't make serious mistakes" I'm just thinking ... why on earth would I want Elizabeth "there was truth in his looks" Bennet with someone who would never make mistakes on that level? Or when people are like, Darcy's just misunderstood, wouldn't he be better off with Jane [or another relatively idealized female character] it's like ... hell no, I love him, but I do not want to inflict him on that poor woman.

It's not that there's something wrong with multishipping them (I've written alternate pairings for both!) or shipping them with other people, but just in terms of the novel as it exists, I do think the balance and echoes between them are part of what makes the novel work and one of the sources of their long-standing popularity. And I feel that trying to pin the "real" blame on one or the other up-ends that balance and diminishes a lot of what I, at least, find appealing about the dynamic between them.

[bethanydelleman]

Have you seen Bride and Prejudice lol

I love Bride and Prejudice! Especially what they did with Mr. Collins! No Life Without Wife lives rent free in my head:

Mr. Collins (Kohli) is exactly what he should be, a very safe option but not someone Elizabeth (Lalita) likes.

I like how they maintained class distinctions and found a modern way to explore the pressure to marry to improve economic realities. I like their Caroline Bingley (Kiran). I love the songs. I love the ending.

I wish they had spent a bit more time on the Darcy/Lalita dynamic. Darcy seems more "fish out of water" than disdainful of India (I think to be in his original character they should play up the disdain). It's a difficult line to walk though.

Also, Wickham was appropriately cute and charming!

Overall, great, one of my favourite Pride & Prejudice adaptations.

[rphunter]

hi there! i’m a roleplayer in their mid-thirties seeking interactive semi-lit/literate writing partners. i typically write between 100-500 words per reply, depending on the plot & my partner’s preference. i prefer mumu’s and developing rich, dynamic worlds with multiple characters & ships, but i am open to single ships as well. i am open to playing any gender & ship type, with no preference one way or the other (though in terms of characters i tend to play more m/nb), so i am open to ceding to my partner’s preferences. NSFW friendly, but open to FTB. looking for 21+ partners only, but prefer 25+. i only rp on discord, as i like to create servers for rping purposes (and nearly all activity will be mobile so tumblr is not feasible for me).

current most wanted is as follows:

(* indicates who i would prefer to play, but i am always open!)

peaky blinders

- tommy shelby* (against may, grace, lizzy, or an oc)

- would love a peaky blinders mumu where i play tommy (you can choose who to play against him) and we both take miscellaneous other characters (whether they are shipped or not)

harry potter

- draco malfoy* x hermione granger (post-hogwarts)

jane austen

- mr darcy* x elizabeth bennett

- mr knightley* x emma woodhouse

- frederick wentworth* x anne elliot

- oc x oc with victorian/regency/jane austen vibes

bridgerton

- anthony bridgerton* x kate sharma/sheffield

- oc* x edwina sharma

- oc x oc

also open to fandomless plots, especially with fantasy or supernatural themes. i’m also always open to oc’s in most fandom settings i love (full list of fandoms can be found in my carrd).

my carrd is adairps if you’d like to read more about me/my preferences!

interact with this post if you’re interested and i’ll reach out to you!

.

[fandom-rpfinder]

hi there! i’m a roleplayer in their mid-thirties seeking interactive semi-lit/literate writing partners. i typically write between 100-500 words per reply, depending on the plot & my partner’s preference. i prefer mumu’s and developing rich, dynamic worlds with multiple characters & ships, but i am open to single ships as well. i am open to playing any gender & ship type, with no preference one way or the other (though in terms of characters i tend to play more m/nb), so i am open to ceding to my partner’s preferences. NSFW friendly, but open to FTB. looking for 21+ partners only, but prefer 25+. i only rp on discord, as i like to create servers for rping purposes (and nearly all activity will be mobile so tumblr is not feasible for me).

current most wanted is as follows:

(* indicates who i would prefer to play, but i am always open!)

peaky blinders

- tommy shelby* (against may, grace, lizzy, or an oc)

- would love a peaky blinders mumu where i play tommy (you can choose who to play against him) and we both take miscellaneous other characters (whether they are shipped or not)

jane austen

- mr darcy* x elizabeth bennett

- mr knightley* x emma woodhouse

- frederick wentworth* x anne elliot

- oc x oc with victorian/regency/jane austen vibes

bridgerton

- anthony bridgerton* x kate sharma/sheffield

- oc* x edwina sharma

- oc x oc

also open to other fandom related plots, especially with fantasy or supernatural themes. i’m also always open to oc’s in most fandom settings i love (full list of fandoms can be found in my carrd).

my carrd is adairps if you’d like to read more about me/my preferences!

interact with this post if you’re interested and i’ll reach out to you!

📺 📚

[roleplayfinder]

hi there! i’m a roleplayer in their mid-thirties seeking interactive semi-lit/literate writing partners. i typically write between 100-500 words per reply, depending on the plot & my partner’s preference. i prefer mumu’s and developing rich, dynamic worlds with multiple characters & ships, but i am open to single ships as well. i am open to playing any gender & ship type, with no preference one way or the other (though in terms of characters i tend to play more m/nb), so i am open to ceding to my partner’s preferences. NSFW friendly, but open to FTB. looking for 21+ partners only, but prefer 25+. i only rp on discord, as i like to create servers for rping purposes (and nearly all activity will be mobile so tumblr is not feasible for me).

current most wanted is as follows:

(* indicates who i would prefer to play, but i am always open!)

peaky blinders

- tommy shelby* (against may, grace, lizzy, or an oc)

- would love a peaky blinders mumu where i play tommy (you can choose who to play against him) and we both take miscellaneous other characters (whether they are shipped or not)

harry potter

- draco malfoy* x hermione granger

jane austen

- mr darcy* x elizabeth bennett

- mr knightley* x emma woodhouse

- frederick wentworth* x anne elliot

- oc x oc with victorian/regency/jane austen vibes

bridgerton

- anthony bridgerton* x kate sharma/sheffield

- oc* x edwina sharma

- oc x oc

also open to fandomless plots, especially with fantasy or supernatural themes. i’m also always open to oc’s in most fandom settings i love (full list of fandoms can be found in my carrd).

my carrd is adairps if you’d like to read more about me/my preferences!

interact with this post if you’re interested and i’ll reach out to you!

adairps