#is it even comprehensible at all

[boyfridged]

What do you think about bruce wayne?

that is such a broad question… but i guess i rarely talk about bruce specifically, in isolation. and i love bruce dearly, despite despite despite… despite the fact that it took me so long to get there even, because for years of reading dc comics he was a nuance to me. but i am now tremendously interested in bruce wayne. i have a soft spot for pre-crisis bruce, his geniality and zest, that easy affection. but i’m also interested in bruce of the “dark” post-crisis era, and where their personalities meet at…

so i’m interested in bruce wayne who took the idea of “grief work” too literally. in how he invented a myth for his tikkun olam and did it wrong. and hence in a myth that grows hungry and implicates others in tragic cycles. in bruce wayne whose kindness makes him project on people that would be better off without it. all to say, i’m mostly interested in how batman sees a man, dead in crime alley and thinks: that could be me. my beginning and my probable end. and who ought to rectify that opinion later, by admitting he thought he’d be a victim of his own mission, but it was his son instead.

his biggest trouble: he perfected the vigilante-civilian lives compartmentalisation, but it lasted no longer than a few years, only for his newly-found family members to enter the picture and mess his brilliant system of identity split… because with children, there’s no dichotomy - they will be his in cowl and out of it, and there will be a price to pay. and bruce realises that, when his abandonment issues also come into play - when he pushes his sons away to protect them from a life of his own invention.

i want these narratives to be complex; i want stories in which his love, just as his grief, gets ugly. and his grief, just as his love, becomes graceful and merciful. however that quote went, about being like gd -- loving everything/everyone and therefore nearly no one/nothing. not a comparison too out of place, since the whole world bends to his personal story.

but i also want the real, breathing thing, ordinary. i want bruce wayne a socialite that truly enjoys high society, as per old canon, that bristol man who drags his body through gotham whole, one with it and yet separated through the numbers in his bank account. i’m interested in bruce wayne rich and a rehabilitationist and therefore worryingly liberal-leaning-conservative. bruce wayne and his stupid, soft robes, and reading glasses, and barbecue parties, and that mini-golf in his WE office, having all of that while playing an every-man.

but that doesn’t answer the question, does it- i suppose what i think of bruce wayne is that: he’s wrong about nearly everything but that love matters. and he's most compelling when put in opposition to leslie, who reads him like an open book and thinks of him: a monster of her own.

[chloesimaginationthings]

Pit Bonnie is doing his best as a FNAF dad..

[mickgaydolenz]

what’s something you are genuinely bad at? like something that no matter how much you’ve tried to improve on it you’ve never been able to get past a certain point? for me it’s learning new languages

[scribefindegil]

Do you sew? Do you have boobs? Do your tops never seem to fit correctly despite following all the instructions on the pattern? THIS IS NOT YOUR FAULT! Sewing patterns usually just tell you to match your full bust measurement to their sizing chart, but this isn't enough information to tell you if the garment will actually fit.

Here's the problem. Imagine three people who all have a 40-inch bust measurement. But one of them is completely flat-chested, one of them is very well-endowed, and the third has the mythical "average" figure that the pattern was designed for. Despite having the same circumference, their torsos are completely different sizes and shapes! So while our lucky "average" sewist can cut out the pattern as written and have it fit, that same size is going to be much too tight in the shoulders for the flat-chested person and much too loose in the shoulders for the buxom one.

And that sucks, because an adjustment to add or remove fullness from the bust is much easier to do than trying to re-size the shoulders and torso. Instead of starting off with the pattern size that matches your bust measurement, it's a lot better if you can start off with the size that fits your shoulders. But almost no patterns tell you how to figure this out!

What you need is to match the high bust measurement. Here's an image (from "Ahead of the Curve: Learn to Fit and Sew Amazing Clothes For Your Curves" by Jenny Rushmore, a GREAT book for learning to fit garments, especially if you're bigger) on how to measure high bust vs full bust.

The difference, in inches, between the full bust measure and the high bust measure is your sewing cup size. (usually not the same as your bra cup size, which is the difference between the full bust measure and the underbust measure. yes, it's confusing. sorry)

So how to use this to figure out what size to cut out from your pattern? If you're using a Big Four sewing pattern, those are all drafted for a B sewing cup, so the high bust for any given size will be two inches less than the given (full) bust measurement. Choose the size that matches your high bust. Then compare the full bust measurement to yours. If it matches, great! If it's smaller or larger, you will have to do either a full bust adjustment or small bust adjustment. They seem scary because they're slash-and-spread adjustments, but if you find a good tutorial they're not that hard. You can also just make a mockup in the pattern size that matches your high bust and either add or remove fabric in the bust area until it behaves.

What if you're not using a Big Four pattern? Well, if you're lucky you'll find a pattern you like from a company that simply provides the high bust measurement as well as the full bust in their chart. A few places, like Cashmerette, actually include multiple cup sizes in their patterns so you don't need to do any math to get a good fit. Otherwise, if the company tells you what cup size they're drafted with, you can figure out the high bust from the full bust: A cup is one inch difference, B is two, C is three etc.

If the pattern company doesn't tell you anything except the full bust measurement, scold them about it. If you have to guess, smaller sizes will most likely be drafted with a B cup. There's a little more variation in plus sizes. Regardless, if you're making a mockup try to get the shoulders and neck fitting properly before you worry too much about the bust.

Now go forth and sew things that actually fit your body!

[razberrypuck]

okay but fiddleford was raised christian, is from a small town in the bible belt, AND lived in the 80s do you understand how much internalized homophobia this man must've had. like yeah he was super obvious about his feelings for ford, but god knows he was never gonna SAY anything -- how could he??

he's a married man. he's a father. willing to go out-of-state for work, sure, but he'd never hurt them like that. he never could. and even aside from everything previously mentioned, ford was his first and likely one of his only friends, he wouldn't wanna ruin that for some dumb fantasy. no, fiddleford just has to focus on being a better partner. that's all this is, and that's all it ever will be. he just needs to get that through his skull, and stop thinking about ford so damn much.

thankfully, he's gotten over most that stuff by now. ain't nothing gonna make mcgucket be ashamed of being himself anymore, but you sure as hell can try.

[ruegarding]

the entire point of the blue food was that it was the only way sally could consistently rebel against gabe without getting her or percy punished. sally is not and never was submissive in the books. percy himself says sally has "a rebellious streak, like me." however, sally and percy were under threat of serious abuse from gabe and therefore had to pick their battles. blue food was sally's way of telling percy "i am here and fighting with you" and "there is hope in the world still."

[reading-comp-posting]

Hi, sorry for the minor breakdown but this has been brewing for a while, even before my first little break, but I've really been thinking about it since earlier this morning. I have (at the moment) a bit over 15,000 followers. That's far too many.

In the interest of trying to pretend that I don't have an inordinate amount of people following me, I'm going to be closing the askbox for a bit, maybe forever. Nobody's sent me anon hate or anything, but even positive messages scare me now. Each one is a reminder that there are 15,000 people looking at the things I post. Even making normal posts (not to mention meta ones like this) has gotten to the point of being genuinely nerve-wracking.

So the askbox is off, and I probably won't even be checking notifications frequently and/or at all. I will attempt to convince myself that nobody is seeing my blog or anything I post on it.

As for the fundraiser posts that have been sent previously, I will post those in time. Because the askbox will be closed, no more can come through, however. This is because I am, as established earlier, a coward.

[dailyloopdeloop]

DAY 71: shy

[7goodangel]

Me, several years ago: "I'll never try digital 3D art... just have no interest to learn it. Already have learned other art forms that I barely use anyway... so why add to that ?..."

Me, currently: [Is attempting to model a donut in Blender] "... uh... I can explain..."

[rosebridal]

narrative foil antagonism at its best

[cuddlytogas]

there was some Twitter madness recently where someone left a comment on someone's art to the effect of, "Ed shouldn't wear a dress, he's a man!" which I do disagree with on principle, but unfortunately, it brought out one of my least favourite trends in the fandom

so, naturally, I had to write a twitter essay about it. and I already largely argued this in a post here, but the thread is clearer and better structured, so I thought I'd cross-post for those not on the Hellsite (derogatory). edited for formatting/structure's sake, since I no longer have to keep to tweet lengths, and incorporating a couple of points other people brought up in the replies

so

I want to point out that the wedding cake toppers in OFMD s2 aren't evidence that Ed wants to wear dresses. Gender is fake, men can wear skirts, play with these dolls how you like, but it's not canon, and that scene especially Doesn't Mean That.

People cite it often: 'He put himself in a dress by painting the bride as himself! It's what he wants!' But that fundamentally misunderstands the scene, and the series' framing of weddings as a whole. I'd argue that Ed paints the figure not from desire, but from self-hatred; it's not what he wants, but what he thinks he should, and has failed to, be.

(Yes, I am slightly biased by my rampant anti-marriage opinions, but bear with me here, because it is relevant to the interpretation of the scene, and season two as a whole.)

The show is not subtle. It keeps telling us that the institution of marriage is a prison that suffocates everyone involved. Ed's parents' cycle of abuse is passed to their son in both the violence he witnesses then enacts on his father, and the self-repression his mother teaches, despite her good intentions ("It's not up to us, is it? It's up to God. ... We're just not those kind of people. We never will be."). Stede and Mary are both oppressed by their arranged marriage, with 1x04 blunty titled Discomfort in a Married State. The Barbados widows revel in their freedom ("We're alive. They're dead. Now is your time").

But even without this context, the particular wedding crashed in 2x01 is COMICALLY evil. The scene is introduced with this speech from the priest:

"The natural condition of humanity is base and vile. It is the obligation of people of standing ... to elevate the common human rabble through the sacred transaction of matrimony."

It's upper class, all-white, and religiously sanctioned. "Vile natural conditions" include queerness, sexual freedom, and family structures outside the cisheteropatriarchal capitalist unit. "The obligation of people of standing" invokes ideas like the white man's burden, innate class hierarchy, religious missions, and conversion therapy. Matrimony is presented as both "sacred" (endorsed by the ruling religious body), and a "transaction" (business performed to transfer property and people-as-property, regardless of their desires), a tool of the oppressive society that pirates escape and destroy. That is where the figurines come from.

When Ed, in a drunk, depressive spiral, paints himself onto the bride, he's not yearning for a pretty dress. He's sort of yearning for a wedding, but that's not framed as positive. What he's doing is projecting himself into an 'ideal' image of marriage because he believes that: a) that's what Stede (and everyone) wants; b) he can never live up to that ideal because he's unlovable and broken (brown, queer, lower-class, violent, abused, etc); c) that's why Stede left. He tries to make himself fit into the social ideal by painting himself onto the closest match - long-haired, partner to Stede/groom, but a demure, white woman, a frozen, porcelain miniature - because, if he could just shrink himself down and squeeze into that box, maybe Stede would love him and he'd live happily ever after. But he can't. So he won't.

The fantasy fails: Ed is morose, turns away from the figurines, then tips them into the sea, a lost cause. He knows he won't ever fulfil that bride's role, but he sees that as a failure in himself, not the role. It's not just that "Stede left, so Ed will never have a dream wedding and might as well die." Stede left when Ed was honest and vulnerable, "proving" what his trauma and depression tell him: there's one image of love (of personhood), and he'll never live up to it because he's fundamentally deficient. So he might as well die.

This hit me from my very first viewing. The scene is devastating, because Ed is wrong, and we know it! He doesn't need to change or reduce himself to fit an image and be accepted (as, eg, Izzy demanded). Stede knows and loves him exactly as he is; it's the main thread and theme of season two!

(@/everyonegetcake suggested that Ed's yearning in these scenes includes his broader desire for the vulnerability and safety Stede offered, literalised through unattainable "fine" things like the status of gentleman in s1, or the figurine's blue dress. I'd argue, though, that these scenes don't incorporate this beyond a general knowledge of Ed's character. Ed is always pining for both literal and emotional softness, but the significance of the figurines specifically, to both Ed and the audience, is poisoned by their origin and context: there is no positive fantasy in the bride figure, only Ed's perceived deficiency.

Further, assuming that a desire for vulnerability necessarily corresponds with an explicit desire for femininity, dresses, etc, kind of contradicts the major themes of the show. OFMD asserts that there is nothing wrong with men assuming femininity (through drag, self-care, nurturing, emotional vulnerability, etc), but also that many of these traits are, in fact, genderless, and should be available to men without affecting their perceived or actual masculinity. It thematically invokes the potential for cross-gender expression in Ed's desires, especially through the transgender echoes in his relieved disposal, then comfortable reincorporation, of the Blackbeard leathers/identity. It's a rich, valuable area of analysis and exploration. But it remains a suggestion, not a canon or on-screen trait.)

Importantly, the groom figure doesn't fit Stede, either. Not just in dress: it's stiff and formal, and marriage nearly killed him. He's shabbier now, yes, but also shedding his privilege and property, embracing his queerness, and trying to take responsibility for his community. In a s1 flashback, Stede hesitantly says, "I thought that, when I did marry, it could be for love," but he would never find love in marriage. Not just because he's gay, but because marriage in OFMD is an oppressive, transactional institution that precludes love altogether. All formal marriages in OFMD are loveless.

So, he becomes a pirate, where they reject society altogether and have matelotages instead. Lucius and Pete's "mateys" ceremony is shot and framed not like a wedding, but as an honest, personal bond, willingly conducted in community (in a circle; no presiding authority, procession, or transaction).

That is how Stede and Ed can find love, companionship, and happiness: by rejecting those figurines and their oppressive exchange of property, overseen by a church that enables colonialism and abuse. Ed is loved, and deserves happiness, as he is, no paint or projection required.

ALL OF THIS IS TO SAY: draw Ed in dresses! Write him getting gender euphoria in skirts! Write trans/nb Ed, draw men being feminine! Gender is fake, the show invites exploration, that's what 'transformative works' means! But please, stop citing the cake toppers as evidence it's canon. Stop citing a scene where a depressed Māori man gets drunk and projects himself onto a rich, white, silent bride because he thinks he's innately unlovable and only people like her can find happiness, shortly before deciding to kill himself, as canon evidence it's what he wants.

(Also, please don't come in here with "lmao we're just having fun," I know, I get it. Unfortunately, I'm an academiapilled researchmaxxer, and some of youse need to remember that the word "canon" has meaning. NOW GO HAVE FUN PUTTING THAT MAN IN A PRETTY DRESS!! 💖💖)

[maypersonne]

Shang Qinghua really does think that he is unlovable huh

He really thinks that he is of no value to anyone if he isn't making himself useful he will be disposed off and that will be it

He genuinely believes no would ever want him so he manipulate and posture as a lesser so to be seen as a necessary annoyance rather than the pest he believes himself to be

He hates all the work he has to do but he prefers exhaustion to the paranoia and anxiety that eat him up when he isn't showcasing his value

He is in a constant battle just to be acceptable rather than loved so he can just be in the presence of those who are dear to him

Like damn like father like son I can see where binghe got all his issues like airplane bro stop unloading it all on your OCs look you gave the poor dear anxiety

[westernwoods]

slamming my fist on the table and yelling until y'all get it that when lewis says “battles are ugly when women fight” it does not mean that women aren't brave enough or smart enough or skilled enough to fight. lucy and susan are written throughout the series as being armed, skilled, and joining their people in battle. father christmas gives them weapons. they don't have to sneak around and steal weapons to defy some patriarchal mandate. the point is, when gentleness and valiance and beauty are needed to fight, required by circumstance to give themselves to the bloody mess of war, there is no chivalry or code of honor any more. war is a human inevitably, but when it devolves to the point of the enemy snatching the crown jewel of creation from its throne and putting her on the battlefield to fight, it is not longer a matter of honor or bravery but destructive, vile, gratuitous violence and ruin. in christian mythos, women do fight. women saints are armed, skilled, and standing side by side with their male companions in battle. mary steps on the neck of satan and crushes him. it highlights how evil the enemy is, because a woman in her beauty and glory must fight him. the flower grows teeth and thorns and claws, and she knows how to use them. it's not sexist to say that battles are ugly when women fight — when battles require even the most precious gem of peace, the highest glory and honor of all creation, to get blood on her hands, creation is at the mercy of something terrible and ugly. it does not mean that she doesn't know how to fight. it means she is symbolic of everything that is best and most wonderful and most cherished being called upon because the enemy is so great.

[mammalsofaction]

HUMAN PERRY AU BACKSTORY

I've been having a lot of thoughts lately about Human Perry headcanons as I read a bunch of fic and rewatch phineas and ferb. You know you're hitting the nail on the head when scenes from a fic you might never write dog your every waking step and haunts your dreams so, I thought putting it on paper will help.

A lot of fics like to suggest that Perry's full name is Peregrine, which is understandable, but ever since I've rewatched 2D and found out their first name for him was actually Bartholomew my life was never the same. So Perry's actual name is Bartholomew. But nobody actually calls him that least of all himself.

FAMILY RELATIONS

-I really like winding headcanons that Perry is Ferb's biological mom's BROTHER, which honestly makes so much sense as to why both he and Ferb have green hair. Here are some add-ons that may get depressing;

Ferb's mom was Eve, or Evelyn. Her codename was E, for Echidna...because egg-laying mammals native to Australia. They were both orphans, and attached to the hip. They were each other's partner in crime.

-They were scouted for OWCA one day, bc the agency liked picking up kids with potential as young as possible. So Perry and Eve were trained for the agency since the start (which is why Perry is such a good agent at what seems to be a young age)

MY HEADCANONS FOR OWCA

-Owca is a largely independent authoritarian enterprise with branches all over the world. They aren't the only ones, obviously.

-OWCA also prefers training agents as early as they could. Sometimes that entails scouting talent. Sometimes that means taking in kids of employed agents. Either way, this means OWCA has elementary and high schools that are more akin to militant training camps. It's not cruel. The kids are well cared for and well fed, but OWCA prioritized competency, obedience and discipline.

On every level of OWCA recruitment, training and employment, there is a fedora, and band to mark whichever level you are on the totem pole.

1) Middle school kids are given a bandless fedora.

2) High school kids (soon to be graduates) are given a white band

3) Fresh graduates, training into full employment, are Yellow Bands. Here you start being assigned to full branches, and trained by field work professionals. Think OWCA Files.

4) It's fairly easy to graduate from Yellow Band into a Purple Band. Purple Bands are largely refereed to as Junior Agents, but that's not quite accurate. Purple Bands are the highest reporting authority in any division that ISN'T FIELD WORK. The OWCA Tech, Clerks, RnD and Science Divisions all have Purple Bands to signify they are fully employed, or Superior Officer. Pinky has a Purple Band.

5) It's VERY DIFFICULT to graduate from a Purple Band to a Black Band, not least because there IS NO PREDETERMINED TEST. Black Band agents are Superior Agents, only one level below Division General. There's no telling what could turn you from a Purple to a Black, because the agent has to prove unwavering obedience and faith to the agency in dire circumstances. It's saying "I am willing to do anything for the Greater Good."  Often it entails a death of some sort. OWCA often says Black is the band soaked in blood. Black Band agents have licenses to kill. It's why Black Band Agents are few and precious far in between.

6) After a black band, and you live long enough to retire, you can choose a bunch of things. Most agents choose to become Division Generals or Branch Managers: think Major Monogram. They're basically glorified "Guy in the Chair". Some agents choose to become educators, in which case they are given White Fedoras. White fedoras arent exclusive to black bands though; there are plenty purple band white fedoras. In fact most educators are purple band white fedoras.

-Perry's Black Band Event was Eve's death

-At the time of Eve's death, she had already been married to Lawrence. Ferb was barely a year old, maybe 10 months old?

-Lawrence was told it was a car accident: drunk driver. Truthfully it was a mission gone wrong, involving an underground child trafficking ring, and she stayed behind to give them all the chance to escape. She didn't have the chance to escape when security explosives around the building detonated, and she got caught in the crossfire. Perry had to leave her behind.

-This is why Perry refused to get a partner btw, aka his Lone Wolf tendencies come from.

-In the aftermath, OWCA agents approached the family to give them their condolences, and offer to take Ferb into the fold. For the first time since Eve's death, Perry practically lost it. He didn't hurt anyone, he's much too professional, but he knew Eve didn't want Ferb to get wrapped up in OWCA, and for good fucking reason. Due to their training, neither he nor Eve had much of a childhood, and he refused to subject Ferb to the same kind of life experience.

OWCA was NOT happy. Things were tetchy for a while, at least until Perry was approached by Major Monogram. Francis had a wife, and a son, and he understood where Perry was coming from. He suggested taking a permanent residence in Danville, which was his branch division. It was more stability than Perry ever had working in England, where he and Eve was originally stationed, and it was easy enough to come up with a work-related story to convince Lawrence, who was more than ready enough to leave the house where he and Eve originally lived.

-It was after moving did Lawrence meet and fall in love with Linda.

Edit; I've decided to change Ferb's bio mom's name bc I found something that fits better to me :) She's Eve now

End Backstory.

[turianjournalist]

Controversial opinion but I don’t think Criston Cole deserves the same level of hate that fucking Joffrey or Ramsay got

[winters-rose-daughterofcain]

I've been trying to phrase things eloquently and I really can't so here you go. Part two really felt like it was trying have its cake and eat it as well in a lot of ways, and it really didn't work.

You give Cressida a whole redemption arc and friendship and put her in an impossible situation and humanise and make you sympathise with her, then want me to hate her again?

You show how Pen uses LW as a coping mechanism and how it's not good for her or those around her and not have her drop it?

You want LW revealed to the ton but no real consequences?

You double down on how Pens family treat her only to have them all come together and be forgiven at the end?

You sideline Colin in his own damn season and butcher Penelope so badly I almost wanted less of her as well?

You can't have everything. Not in such a short time span at least, and it really suffer from it. If you wanted to give Cressida more depth and expend on her role why was she tossed away like nothing at the end? Why did Eloise abandon her? Why was she treated as awful in part two after being put in an actual horror show of a situation? I know they needed the blackmail plot but you can't just give her depth, make her the antagonist and then drop her storyline in the drain that's not how that works. That's not complexity that's laziness, and laziness they created mind you.

They didn't have to write Cressida the way they did this season, if they wanted to make it easy they could have had her marry off screen between seasons to a rich man, they could have had Eloise befriending her be a mistake and had a different arc there, they could have had her LW claim be for any number of reasons, and her blackmail because she still has it out for Penelope. They added this to the story, and as much as I was sceptical at first (I have seen far too many botched bully redemptions) I was glad they did it aded a lot of depth and character interaction, it created some interesting parallels between Cressida and Penelope and seeing Eloise in a different, less intimate friendship with someone who, ironically, is a lot more open with her was interesting. Incomplete, but interesting. It was good, or it could have been. But you can't just turn like that and have it still work. You can't just have Eloise abandon her and have it treated as the right thing to do. You can't leave her with that ending and consider it a happy one. You can't have your cake and eat it too. You didn't create a complex antagonist, you created a scared lost girl who was cruel because she was taught to be and you left her to burn.

You could have had Penelope and Cressida talk to each other, could have explored the ways the mirror and the ways they differ. You could have had Penelope struggle, but untimely empathise with Cressida and help her out, she could have forgiven her for her years of torment because she of all people understands why she did it. You could have had her forgiveness mirror Colin and Eloise forgiving her for LW. You could have looked at how Cressida's openness helped her friendship with Eloise and how Penelope might start to incorporate it. About how by nature of Cressida's openness Eloise is learning to see other perspectives and listen more even if she still has work. You could have done so much with female friendship and camaraderie and empathy and you just... didn't.

The Lady Whistledown this season was just... I think I have a thesis which is most of my thoughts on Polin.

Whistledown was meant to be the subplot to the Polin storyline, not the other way around.

Putting aside my own wishes to have her end Whistledown for her character and for her and Colins relationship, and her love of Colin, her continuing it isn't unexpected I was afraid of this and thought it might happen even if it's lazy. If that was it and if it was handled better I think I could begrudgingly live with it. But it's not. Not only was it handled so so poorly it was the whole second part and for what? Part one was Polin. Part two was Lady Whistledown drama with some cute Polin moments sprinkled in-between with some mandatory angst. Tell me the resolution to Colins arc now. Quickly. You can't he didn't have one, we barley even saw him through Episode seven and eight. There is so much romance in your purpose being the person you love, IF and only IF, it's reciprocal. Penelope literally says in season two, when she has been Whistledown for over a bloody year that she hasn't found her purpose yet. They were meant to find each other. To both have their writing as their passion and creativity and fulfilment, not Whistledown, but her manuscripts, his stories from around the word their joint and secret words. But their centre, their purpose, their guiding light was always meant to be each other. It's what kept Penelope sitting at that window, it's what draw Colin to her at every ball. They had all the potential and set up to be the most beautiful, genuine, heartfelt relationship. But no.

Colin deserved to be angry. The woman he loves has lied, has hurt him, has his from him after all the times he was venerable with her and so, so much more. They deserved to argue. Penelope deserved to be more upset over this than crying in the moment and walking past him later. That's the man she loves, who she thinks hates her, who she know if he did hate her she would deserve it and she wouldn't blame him for a second. They deserved time and space and Colin deserved explanations and apologies. They deserved a later, happier wedding, they both deserved to have their feelings heard and said and listened too. Is that not the core of their relationship? Listening to and seeing each other? Would that not lay the groundwork for some really good well earned conflict and a really rewording resolution? The groundwork was all there that's what's killing me. The set up was all there for something so good which is why I was excited. I know screen time is limited, I know there is only so many emotional conversations you can have on screen, but Bridgerton primarily just people talking on conversations, when it's there bloody season surely they can space out the conversations that need to happen in a way that works with pacing. And to be honest, the screen time defence only works when the screen time that they did have was allocated well. And I'm not taking subplots. Even if I think a few could have been trimmed, the screen time Polin did get was just used so so badly. Colin got dust and that didn't even feel like Penelope had the time, just a mouth piece for the writers.

Rapid fire stuff because I need to expand on the above in more detail later lol.

The acting was flawless give everyone on that set their flowers.

I really like the Mondrich's and seem to be the only one who likes seeing them lol, their sweet and always a good time they just need a better storyline, or you know, one that actually has a resolution.

Not what I would have done for Benedict and I still want to see him look at art again but let's hope season 4 is better lol.

Don't like the way Penelope's family stuff was done, specifically Portia but it is what I thought would happen. Disappointed but not surprised. I'm biased tho so I won't speak on it too much. I lose too much objectivity.

Hate hate hate the baby thing tho, it was fine as a subplot with her sisters but her having the boy was predictable and also dear god the girls nineteen for fucks sake. No. Hated that.

Francesca the absolute love of my life. I adore her and John, I liked the conflicted with Violet, loved everything about her storyline this season she was perfect, my favourite part honestly lol. Also Michaela Stirling get behind me NOW. Sapphic Bridgerton fans truly are the bravest soldiers cause istg. Also I don't trust this fandom with any actor or actresses period but especially not a Black actress who's "ruining" your favourite storyline. So I will be greatly enjoying everything I see of all three of them Francesca John and Michaela, while watching with a sharp eye for any bullshit.

Kate, also the love of my life it was so lovely to have her back even if just for a bit. Wish they did more with Anthony especially him and Colin tho, but again, wasn't expecting much more. I do wish they would write them out with a bit more subtly tho it's getting almost funny how obvious it is.

The Violet, Marcus, Lady Danbury plot I didn't actually mind. Could have been trimmed a bit but it was good seeing the adults in more depth, I haven't watched queen Charlotte tho so I kinda feel like I missed some things.

Overall, I liked certain parts of this season I really did, especially if I fully ignore the context, and I'm happy for everyone who enjoyed it truly, but it was have an entirely different ending in my head. I'll definitely write about at some point but who knows if anyone wants to see that lol.