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[niekie69]

✨️ POLDARK ✨️

[wildwren]

oops i started rewatching my beloved trash 18th century soap opera and now im on season 2 and im probably going to start blogging about it because i have too many feelings about my cunty king george warleggan <33333

[amandasannoying]

If there’s one thing Josh Whitehouse is gonna do, it’s playing a hot homewrecker!

[oh-great-authoress]

WHERE IS ALAN RICKMAN’S PERIOD DRAMA SLUTTY SHIRT MOMENT FROM SENSE AND SENSIBILITY 1995??

PERIOD DRAMA + SLUTTY SHIRTS

Pride & Prejudice (2005) dir. Joe Wright Bridgerton (2020-) created by Chris Van Dusen War & Peace (2016) dir. Tom Harper Poldark (2015-2019) created by Debbie Horsfield Atonement (2007) dir. Joe Wright Jane Eyre (2011) dir .Cary Joji Fukunaga Peaky Blinders (2013-2022) created by Steven Knight Pride & Prejudice (1995) dir. Simon Langton

[durtystars]

today i give you george gazing at demelza. have a nice day

[ethereal-maia]

THIS THEME IS SO PRETTY

AA TYSM!!! I recently had a resurgence of love for Rowella Chynoweth, and now I’m slowly changing my blog/intro post to match that pic of her lol

[sarztomo]

James Wilby joins the Famous Five series 2 two currently filming!!!

Can't wait to see James in this.

----------------------------

Joining the core cast are Maria Pedraza, Amir Wilson, James Wilby, Rita Tushingham, Jonathan Aris, Jamie Andrew Cutler and Jemima Rooper

BBC, Moonage Pictures (The Gentlemen) and Nicolas Winding Refn today announce filming has begun on a brand-new series of The Famous Five for the BBC in the UK, in co-production with The Mediapro Studio which also holds the distribution rights for the series in Spain, Portugal, and Latin America.

The 2 x 90min series is created for television and executive produced by Nicolas Winding Refn (byNWR) & Matthew Read (Moonage Pictures) and follows on from the highly successful first series which aired on the BBC. The premiere, The Curse of Kirrin Island, was CBBC’s number one rated episode in 2023.

Diaana Babnicova returns as George, alongside Elliott Rose as Julian, Kit Rakusen as Dick and Flora Jacoby Richardson as Anne. Making up the fifth member of The Famous Five and the gang’s faithful furry friend, is Kip, the Bearded Collie Cross playing Timmy the dog.

With Jack Gleeson, James Lance, Ann Akinjirin also reprising their roles, they are joined by new cast members, including Spanish actress Maria Pedraza (Money Heist, Elite), Amir Wilson (His Dark Materials), James Wilby (Poldark), Rita Tushingham (A Taste of Honey), Jemima Rooper (Geek Girl), Jonathan Aris (Sherlock) and Jamie Andrew Cutler (The Hurricane Heist). Rooper starred as George in the 1990s Famous Five TV series and now takes on the role of Angela Clutterbuck, a guest staying at a mysterious hotel.

The Famous Five is based on Enid Blyton’s iconic stories and follows the daring young explorers as they encounter treacherous, action-packed adventures, remarkable mysteries, unparalleled danger and astounding secrets. Series two takes our heroes into strange and challenging waters as they face life during wartime – and the hazards of growing up.

[emeraldxphoenix]

Thoughts had been a jumbled, sleepy mess, disorganised and fleeting as Loki turned away from the light filtering through the window and reached for his lover. Predictably, his face had immediately contorted into a pout at discovering her awake and perched on the end of the bed, rather than warm and pliant beside him, and the slurred words – ‘come back to bed’ – had escaped his lips.

Sigyn responds with something about work, and even though Loki is drifting between sleep and wakefulness, he can tell from her tone that it’s something he wouldn’t like. Long fingers tug gently at her wrist, wordlessly arguing back as he tries to pull her back into bed. He hates this sometimes. Yes, the thrill of fooling everyone is delightful, and having Sigyn just to himself is nothing short of Valhalla, but it rankles that he has to watch every word, every action so as to not give their secret away, that he can’t openly stare in public, or stay in bed wrapped around her until whatever time he pleases. Honestly, Loki is increasingly beginning to believe that letting their secret out might be worth it. Such a decision, though, will always lie with Sigyn, because Loki will do anything to make her happy, and if she wants their relationship to remain concealed for a while longer, then he will endure.

The light of his life leans closer to offer a conciliatory kiss – one Loki accepts greedily – and to remind him that he is free to do whatever he chooses. (Except he isn’t, because he chooses her.) “Hmmm, it’s not the same without you.” The fingers not wrapped around the goddess’ wrist reach to her waist, grasping at fine fabric until they find purchase and drag her across the bed back into his arms. Lips press against soft flesh as he buries his face in her neck. “I’m a prince, can’t I command you to stay here?”

@emeraldxphoenix said: "Come back to bed." an assortment of dialogue prompts. | accepting.

It is, admittedly, early; the sun has barely risen, and the palace still quiet save for the attendants who are beginning to prepare for the day. But that doesn't stop Sigyn from shaking her head when she feels his fingers curl around her wrist, gently but insistently trying to urge her to lie back down.

"I have work to do." She replies, smiling fondly at him over her shoulder.

Her reasons for rising so early are twofold. The first - and the one she's currently using as her excuse - is that she's expected to be in the healing rooms well before most royals tend to make their first appearances of the day. The second reason is to try and avoid anyone seeing her leaving Loki's chambers.

Yes, the sneaking around is part of the appeal - especially for the trickster who is currently trying to coax her into abandoning her duties in favour of staying in his bed. But there's something wonderful in the secrecy, too; in having something for themselves which, for the moment, isn't subject to the gossiping opinions of Asgard's court. Sigyn would quite like to make the most of it while they can.

She acquiesces to Loki's coaxing just enough so that she can lean in and kiss him softly. "As I recall, though, you are at liberty to lounge around to your heart's content until this afternoon."

[bakingblues]

my great grandmother was a magic weaver

My nanna used to love telling me she was born within the sound of the Bow Bells meaning she was a true Cockney, which is genuinely quite funny if you knew my nanna at all. This actually played no part in me being a West Ham fan, but I the idea of these threads that weave through our lives, joining us in ways that mean something beyond what the eye can see.

In fact, Nanna was ostensibly a Spurs fan, having been taken to White Hart Lane by her brother when she was younger. She'd tell me that standing in the terraces was like being caught up in a rough sea, at one point both her feet were off the ground as she was lifted up by the bodies squashed next to her. She never went again, but it didn't stop her fondly teasing me.

Nanna died 8 days ago, and I can't stop thinking about the newsletter Lorde wrote when her dog died.

I eat a grief sandwich

I wear a grief coat

I see a grief film

And isn't that what it's like. Except for me it's just I have a grief bath, I have a grief bath, I go for a grief walk, I have a grief bath. I keep buying yarn the colours of the sea and I knit a grief sock. Kasper told me he finds how life is cyclical sad but very beautiful and so maybe with the rest of the yarn I won't knit more grief socks, but I'll make a blanket for the little bundle of cells growing in Lucy's tummy. A life goes on and on and on and isn't that lovely blanket.

Ella lets me go over to her flat and lie on her bed and cry in her arms, Lindsay comes over and brings bread and cheese and sends flowers to my mum, Meg and Rach and Lucy and Emily check in every day. Victoria is so gentle with me, letting me tiptoe around the flat feeling so heavy with sadness. My school friends tell me how much they love Nanna, how she was an icon, a legend, a wonderful person. Everyone tells me they'll always think of her when they see Poldark.

Every day I put on either the heart locket bracelet she gave me, or the amber necklace with the spider trapped in that mum said I could keep. I wrap myself in the cardigan she made me when I was 11 or wear the soft navy blue cashmere jumper I slipped into my bag when we were sorting through her clothes last week. I just want to be surrounded by her, all the time. She was my favourite, I'll miss her forever and ever.

[niekie69]

💖

[wildwren]

ranking george warleggan's blood feuds

1. george vs. aunt agatha - absolutely iconic, nothing will ever top this, frankly this IS the high point of all 5 seasons of poldark. george said "i refuse to be out-cunted in my own house" and agatha was like "this is LITERALLY my house" and then they fought to the death. "that old woman will have no party" is THEE george warleggan quote of all time

2. george vs. ross - this is high on the list for george vs. ross because we all know how much of a ross hater i am, but actually im a george x ross truther, like they DO have chemistry, gay sex would nOT help, it DEFInITELY would make things worse, but i think they should try it anyway!!!! also remember that time george wept when ross' daughter died and told ross that some of the light had gone out of the world with her, and ross responded by telling george he would step over george's uncle if he saw him drowning in a puddle? because i think about that a lot. i might be paraphrasing

3. george vs. drake - i find george vs. drake tiresome sometimes because drake is simply *too* hapless, but at the same time, it's very funny that over the years, george has accused drake of: theft over forty shillings, intent to riot, grain stealing, trespassing, child grooming, bride-stealing, home invasion, and murder; has gotten drake kicked out of church, arrested, beaten and left in a ditch, imprisoned, nearly hanged; burned down his blacksmith shop not once but twice; had a pack of dogs sent after morwenna because she agreed to marry him, and probably other things i'm forgetting. meanwhile, in every sense of the idea, drake is just kicking a stone down the road.

4. george vs. geoffrey charles - i wish george vs. geoffrey charles was more fun but it's just sort of basic like oh no, george, do you hate your stepson who your beloved wife had with another man who you also hated??? how original that's incredibly creative of you!!! george almost marrying cecily was sort of an unhinged touch but by that point i did not really care. i'm a geoffrey charles hater though so maybe it's a personal problem :/

[hmcbook]

Your icon is from the series Poldark i think it's called, and the actress truly has the looks of book!Sophie. Who do you think would look like Howl though?

Yes I love her.. Eleanor Tomlinson in Poldark you will always be Sophie to me.. and my old fancast for Howl has been Harry Lloyd and it has- sentimental value to me. He'll always be vaguely Harry Lloyd -looking to me bc I saw a tumblr post about it in impressionable age (just after reading hmc for the first time)

[softschofield]

things i would have added to or changed about poldark:

george gutting trenwith and transforming it into the light, airy, gilded, sunshiney aesthetic he clearly loves (cardew, warleggan bank). make it yours, honey

demelza making a move on george at that party after ross cheated on her - what better way to get back at him than by fooling around with his sworn nemesis, and, in george’s case, his wife? one stone, many birds. it would have been iconic. like, i love that part of george’s character is his faithfulness, but nonetheless: iconic. and he’s beautiful. get it, sweetie

verity in lisbon. how hard would it have been to have one scene of her writing a letter or arranging flowers in her room, or walking with her stepchildren through a harbour-side market and smiling and laughing and chatting with them? it’s what she deserved

a big reveal that george’s accent is actually lower class cornish and he’s just been faking the posh one. where did he learn the posh one anyway??? uncle cary certainly doesn’t have it and i doubt his parents did either. just let it slip, or have him drop it when he’s talking to cary. what a character building twist

consequences for ross’ fucking actions. when will you learn!!!!!!!!!!

the entire last season, and especially the finale. but to start with: the final season. if they wanted the slavery plot, brilliant - put kitty and cecily centre stage and cut ned entirely. i think it’s fairly safe to say very few people gave one single fuck about ned, and he took up so much time that could have been used for giving caroline a worthwhile plot that wasn’t some vague jealousy, and concentrating more on george’s mental illness. if they were absolutely determined to put ned in it, they should have swapped the timelines and put the final season plot into, say, season four. the entire last season felt rushed and messy and inconsequential, and honestly? cary carried so much of it. 

poldark’s formula was that every season was essentially insular and self-contained - new characters were introduced in the first episode of the season, a villain was vanquished by the last, and one or two of the new characters stayed on, so that every season we collected new people who then became series regulars. it was a wonderful, fun formula, and it worked well. in the final season, there should have been no new characters introduced. we already had all these lives we’d collected over the seasons - ross, demelza, george, morwenna, caroline, dwight, drake, sam - and the last season should have been about them. about giving them a fitting plot and a satisfying ending. a final episode should mirror the values, sentiments, and aesthetics of the very first one, either in parallel or in contrast. and what makes poldark poldark is: cornwall, love, friendship, mining. it should have been about that. it should have tied in with the rest of the show. it should have been relevant. 

instead, we got a french plot in the second to last episode and a dozen loose ends that had to be tied up in one single episode - which was mostly taken up by a sword fight, ross cheating on demelza but it’s okay because it’s For England even though i’ve always been a renegade and never particularly patriotic aside from being a soldier for what i assume are personal reasons, babies, napoleon, and 1801 MI5. the last episode was absurdly bad - because it had nothing whatsoever to do with the four seasons that had come before it. i mean, george appears in the barn a la t-rex in jurassic park, unseen and unheard, and hits both targets with two pistols - despite the fact ross said in a prior episode that he had always been a dismal shot, despite the fact he’s just had an injured arm, despite the fact he’s left-handed. every single character arc ended on a depressing or just entirely unworthy note. george leaving trenwith and seeing elizabeth going inside? is that supposed to be anything but achingly, horribly heartbreaking? is that supposed to be anything but “george is still struggling with his mental illness, but in a misguided attempt to move on he leaves the woman he loves in the house neither of them were ever supposed to be in and moves forward into an unhappy, broken future”? that scene where he “thinks aloud” and the audience is meant to be “ooooh my god is he still seeing her”? sickening. demelza being hurt for the thousandth time and then just immediately forgiving ross because it was for england? fuck that. fuck that so much. she deserved to be hurt and angry and move on from him, she deserved MORE. and ross leads tess on for six months, starts an affair, lets her fall for him, knows full well what he’s doing by using her - and then when she’s understandably wounded, he’s like “YOU STUPID THOT YOU BROUGHT IT ON YOURSELF STAY AWAY FROM MY FAMILY” AAAAAAHHHHHH

when george came to nampara the second time, after valentine asked him yet again about having his own mine, i thought he was going to ask ross to teach him about mining so he could bond with his son. adorable. sweet. when that didn’t happen, i thought he was going to tell ross and demelza that they were right, trenwith had always and would always be a poldark house, and now that he’s settling in truro and london (not cardew, for some reason), they could live at trenwith, where they were always supposed to be. when that didn’t happen, i thought he was going to relent and give permission for ross to have a relationship with valentine. but no. all we got, for the thousandth time, was “stay away from my son.” 

i won’t even get into the female characters. they were done so dirty. when the show made the point of having the grandmother watching wenna saying goodbye to her son and smiling sadly, i didn’t think it was actually a goodbye - i thought she would show up at wenna’s cottage and grudgingly say she can come visit on weekends. but no. so what was the point of having the grandmother overhear at all??????? cecily loses her fortune, is forced back to the place she said she would rather die than return to and where her mother died, has her reputation in tatters - and geoffrey charles gets to have a happy ending and go back to military school. speaking of which, when he said that, considering a past plot point had been his lack of funds and the fact that he was attending on credit, i thought they were going to have a little scene where geoffrey charles admits george is finally paying for his studies, because they’re starting to build a relationship based on their mutual love for elizabeth and their loneliness, but no. again, i hoped for too much. i assumed they were actually trying to give an ending that made sense, that left characters with a brighter future, and that made audiences happy. 

but, okay, let me spell out what i wanted for the final season - and, more importantly, the final episode:

the final season: cut ned, put kitty centre stage for the slavery plot, and cecily centre stage for the woman’s emancipation plot. that takes place in london. back in cornwall, go back to the show’s roots and return to mining. cut tess and any sort of human villain, and have the characters battling against the natural elements of the county. focus more on truro, on the red lion, on prudie, on jeffrey and clowance, on pascoe’s new baking venture - and have the peasants more spread out like they used to be, just not on one small set by the coast. amp up the fond nostalgia. bring all the old sets and locations back into it, including cardew. have a scene where someone sets flowers by henshawe’s grave. reopen wheal leisure. when we’re in cornwall, make it feel like it. take it all back to its roots. give demelza a worthwhile plot, and reunite morwenna with her son. take more time with her trauma plot in general - a promise by drake that he’ll never want a carnal relationship with her followed up a day later by disappointment on his part that he hasn’t gotten laid doesn’t cut it. so, that’s cornwall.

in london, put caroline to use. she knows everyone there is to know in high society; she’s independently wealthy; she’s cunning, articulate, strong-minded, and unbelievably powerful. use it. a perfect example, just for a tiny alteration, is the scene where a man spits at kitty - it wouldn’t be seemly for dwight to confront him, but caroline could: she, a powerful, untouchable aristocrat, could have cornered him and chewed him out without any repercussions or consequences. she’s the only truly upperclass character who is painted in a positive light - let her use her power and influence for good. 

the final episode, but i’m focusing on george because he’s my favourite and also he was done so dirty: george’s hallucinations actually are gone and he’s started the process of healing. he and enys have started a positive, meaningful friendship. george helps ross in some different way - getting his hands dirty and going into a mine for the first time to rescue him, for example; imagine george in a cramped tunnel, covered in black dirt and sweat, terrified, clothes ruined, saving ross’s life: powerful - and their dynamic changes to a strange friendship that stays like that. george is clearly changed - he’s kinder, fairer, more mellow - but they keep up pretences for the fun of it. a scene in the red lion to demonstrate this - they have a confrontation (”oh, hello, ross - [bitchy comment]”), turns into a bit of verbal sparring, they clearly still hate each other for old time’s sake but there’s a hint of a smile and they both know they’re secretly fond of each other. they don’t go so far as to actually sit down for a drink together - they still go to their separate tables and their separate lives - but you know. it’s a healthier relationship. 

a scene in the graveyard - geoffrey charles is leaving flowers, george comes up behind, hesitates a moment, then finally joins him; it’s awkward and they’re both bristling for a little bit, but finally george begrudgingly tells him he’ll fund his military training. cut to another scene - they’re both in trenwith. it’s still awkward, they’re still expecting something bad from the other, but their hackles aren’t quite so raised. finally, bessie enters the drawing room with francis’ portrait. george has it hung back in its old place above the fireplace. it’s a soft moment between george and geoffrey charles - the beginning of a reconciliation, an understanding, an apology. they both gaze up at the portrait for a moment. finally, george offers him a drink. geoffrey charles accepts. it’s the beginning of a gentler relationship and the ending of a mutually painful animosity. 

george goes to nampara and asks to be taught about mining; ross agrees. when george leaves trenwith, it’s a quiet, joyful, powerful moment of healing and moving on. in the carriage, he has ursula on his lap and valentine sitting beside him with the miniature portrait of elizabeth. george puts his arm around him, a little uncomfortable at first with the tenderness but settling into it, they smile at each other, he starts to talk about mining. as they drive away from trenwith, george and valentine are too absorbed in their own newfound closeness and gentle conversation to look back. from the upstairs window, elizabeth watches them go with a smile. 

in the truro townhouse, the household is busy preparing to move to london. suddenly, a knock at the front door. it’s demelza, dishevelled and frenzied and smiling - they need all hands on deck to bring in the harvest. george resists at first (“me?”), valentine begs to go, he finally relents - and it’s a throwback to the harvesting scene in the beginning of the show. the final scene: music over a montage. all the main characters are helping in the wheat field. it’s soft, sunny, and beautiful. george, in just his shirt sleeves and breeches, is laughing and free, helping pile wheat onto the cart and playing with valentine - chasing him around, picking him up and spinning him around, both of them are smiling. caroline and dwight are throwing stalks of wheat at each other and laughing, caroline’s hair a mess and she’s pretending to care about it, demelza runs up behind her and showers her in wheat, caroline is melodramatically incensed, demelza is laughing, caroline swears revenge and chases after her, female friendships deserve the world. demelza and ross have some stupid romantic moment, like kissing with the sun as a halo behind them. morwenna, her son, and all the school children help (morwenna and her son share a sweet moment), as does rosina and prudie and kitty and geoffrey charles. cary watches at the edge of the field with his arms crossed and a disapproving (but secretly fond) sneer on his face. all the characters are together - draw back to show the cliffs and the sea in the background - fade to black. everyone is set on their path of healing. everyone is where they should be. the french don’t exist. also squeeze george meeting harriet in there somewhere, and for the first time in two years he feels soft and healed enough to begin to love again, slowly, patiently. EVERYTHING IS GOOD, EVERYONE IS HAPPY, GIVE ME A SIMPLE, ORDINARY ENDING INSTEAD OF SOME SORT OF CHAOS WHERE TOO MANY SENSELESS, MEANINGLESS SUBPLOTS WITH NOTHING TO DO WITH THE REST OF THE SHOW OR ANY OF THE CHARACTERS ARE CRAMMED IN. I’D RATHER BE UNDERWHELMED AND DISAPPOINTED BY THE SIMPLICITY THAN OVERWHELMED AND GIVEN A HOLLOW, FRENZIED, OVERDRAMATIC NOTHING - but, better yet, give us happiness by giving the characters happiness. thanks for coming to my ted talk