#royal horse girl

[oakappleday]

[celestialrealms]

This Barbatos chat 🥹🥹🥹 he's such a proud mother

And also-

this chat reminds me so much of that Mephisto chat, actually. I honestly find it so endearing that they really are so alike in some ways.

[anoddrock]

I know Hestia is one of my favorite Greek goddesses but if I learned anything from Greek mythology it’s to not loudly announce what gods or goddesses you dislike loudly or in public

[book--brackets]

Valdemar: Mage Wars by Mercedes Lackey (1994-1996)

It is an age when Valdemar is yet unfounded, its organization of Heralds yet unformed, and magic is still a wild and uncontrolled force.

Skandranon Rashkae is perhaps the finest specimen of his race, with gleaming ebony feathers, majestic wingspan, keen magesight and sharp intelligence. Courageous, bold, and crafty, Skan is everything a gryphon should be. He is the fulfillment of everything that the Mage of Silence, the human sorcerer called Urtho, intended to achieve when he created these magical beings to be his champions, the defenders of his realm--a verdant plain long coveted by the evil mage Maar.

Now Maar is once again advancing on Urtho's Keep, this time with a huge force spearheaded by magical constructs of his own--cruel birds of prey ready to perform any evil their creator may demand of them. And when one of Urtho's Seers wakes from a horrifying vision in which she sees a devastating magical weapon being placed in the hands of Maar's common soldiers, Skandrannon is sent to spy across enemy lines, cloaked in the protective of Urtho's powerful Spell of Silence.

Sorcerer Royal by Zen Cho (2015-2019)

At his wit’s end, Zacharias Wythe, freed slave, eminently proficient magician, and Sorcerer Royal of the Unnatural Philosophers—one of the most respected organizations throughout all of Britain—ventures to the border of Fairyland to discover why England’s magical stocks are drying up.

But when his adventure brings him in contact with a most unusual comrade, a woman with immense power and an unfathomable gift, he sets on a path which will alter the nature of sorcery in all of Britain—and the world at large…

Valdemar: Vows and Honor by Mercedes Lackey (1988-1998)

She was Tarma. Born to the Clan of the Hawk of the nomadic Shin'a'in people, she saw her entire clan slain by brigands. Vowing blood revenge upon the murderers, she became one of the sword-sworn, the most elite of all warriors. And trained in all the forms of death-dealing combat, she took to the road in search of her enemies.

She was Kethry. Born to a noble house, sold into a hateful "marriage", she fled life's harshness for the sanctuary of the White Winds, a powerful school of sorcery. Becoming an adept, she pledged to use her talents for the greatest good. Yet unlike other sorcerers, Kethry could use worldly weapons as well as magical skills. And when she became the bearer of a uniquely magical sword that drew her to those in need, Kethry was led to a fateful meeting with Tarma.

United by sword-spell and the will of the Goddess, Tarma and Kethry swore a blood oath to carry on their mutual fight against evil. And together, swordsmaster and sorceress set forth to fulfill their destiny....

The Kingston Cycle by C. L. Polk (2018-2021)

In an original world reminiscent of Edwardian England in the shadow of a World War, cabals of noble families use their unique magical gifts to control the fates of nations, while one young man seeks only to live a life of his own. 

Magic marked Miles Singer for suffering the day he was born, doomed either to be enslaved to his family's interest or to be committed to a witches' asylum. He went to war to escape his destiny and came home a different man, but he couldn't leave his past behind. The war between Aeland and Laneer leaves men changed, strangers to their friends and family, but even after faking his own death and reinventing himself as a doctor at a cash-strapped veterans' hospital, Miles can't hide what he truly is. 

When a fatally poisoned patient exposes Miles' healing gift and his witchmark, he must put his anonymity and freedom at risk to investigate his patient's murder. To find the truth he'll need to rely on the family he despises, and on the kindness of the most gorgeous man he's ever seen.

The Faerie Wars Chronicles by Harbie Brennan (2003-2011)

When Henry Atherton helps Mr. Fogarty clean up around his house, he expects to find a mess and a cranky old man; what he doesn't expect to find is Pyrgus Malvae, crown prince of the Faerie realm, who has escaped the treacherous Faeries of the Night by traveling to the human world through a portal powered by trapped lightning. An egomaniacal demon prince, greedy glue factory owners Brimstone and Chalkhill, and the nefarious Lord Hairstreak, leader of the Faeries of the Night, all dream of ruling the Faerie realm and are out to kill Pyrgus.

Enlisting the help of his sister, Holly Blue, and his new friend, Henry, Pyrgus must get back to the Faerie world alive before one of his many enemies gets to him instead. But how many portals are open, and can Pyrgus find the right one before it falls into the wrong hands?

The Ordinary Princess by M. M. Kaye (1980)

Along with Wit, Charm, Health, and Courage, Princess Amy of Phantasmorania receives a special fairy christening gift: Ordinariness. Unlike her six beautiful sisters, she has brown hair and freckles, and would rather have adventures than play the harp, embroider tapestries . . . or become a Queen. When her royal parents try to marry her off, Amy runs away and, because she's so ordinary, easily becomes the fourteenth assistant kitchen maid at a neighboring palace. And there . . . much to everyone's surprise . . . she meets a prince just as ordinary (and special) as she is 

The Little White Horse by Elizabeth Goudge (1946)

When orphaned young Maria Merryweather arrives at Moonacre Manor, she feels as if she's entered Paradise. Her new guardian, her uncle Sir Benjamin, is kind and funny; the Manor itself feels like home right away; and every person and animal she meets is like an old friend. But there is something incredibly sad beneath all of this beauty and comfort--a tragedy that happened years ago, shadowing Moonacre Manor and the town around it--and Maria is determined to learn about it, change it, and give her own life story a happy ending. But what can one solitary girl do?

Dr. Greta Helsing by Vivian Shaw (2017-2024)

Meet Greta Helsing, doctor to the undead. After inheriting a highly specialised, and highly peculiar, medical practice, Dr Helsing spends her days treating London’s undead for a host of ills: vocal strain in banshees, arthritis in barrow-wights and entropy in mummies. Although barely making ends meet, this is just the quiet, supernatural-adjacent life Greta’s dreamed of since childhood.

But when a sect of murderous monks emerges, killing human undead and alike, Greta must use all her unusual skills to keep her supernatural clients – and the rest of London – safe.

Of Mermaids and Orisa by Natasha Bowen (2021-2022)

Simi prayed to the gods, once. Now she serves them as Mami Wata—a mermaid—collecting the souls of those who die at sea and blessing their journeys back home.

But when a living boy is thrown overboard, Simi does the unthinkable—she saves his life, going against an ancient decree. And punishment awaits those who dare to defy it.

To protect the other Mami Wata, Simi must journey to the Supreme Creator to make amends. But something is amiss. There’s the boy she rescued, who knows more than he should. And something is shadowing Simi, something that would rather see her fail. . . .

Danger lurks at every turn, and as Simi draws closer, she must brave vengeful gods, treacherous lands, and legendary creatures. Because if she doesn’t, then she risks not only the fate of all Mami Wata, but also the world as she knows it.

Girls Made of Snow and Glass by Melissa Bashardoust (2017)

Sixteen-year-old Mina is motherless, her magician father is vicious, and her silent heart has never beat with love for anyone--has never beat at all, in fact, but she'd always thought that fact normal. She never guessed that her father cut out her heart and replaced it with one of glass. When she moves to Whitespring Castle and sees its king for the first time, Mina forms a plan: win the king's heart with her beauty, become queen, and finally know love. The only catch is that she'll have to become a stepmother.

Fifteen-year-old Lynet looks just like her late mother, and one day she discovers why: a magician created her out of snow in the dead queen's image, at her father's order. But despite being the dead queen made flesh, Lynet would rather be like her fierce and regal stepmother, Mina. She gets her wish when her father makes Lynet queen of the southern territories, displacing Mina. Now Mina is starting to look at Lynet with something like hatred, and Lynet must decide what to do--and who to be--to win back the only mother she's ever known...or else defeat her once and for all.

[hrhzaratindall]

Zara Tindall is the new patron of the Retraining of Racehorses

[princessanneftw]

Princess Anne riding in 1975 🏇🏻

[bluedalahorse]

Notes on Sara’s initiation costumes

I am allowing myself a few comments of meta before before I begin my Substantial Adulting Task Of The Day.

How we see a character at the beginning of a season and at the end of a season is so indicative of their arc. Costuming plays a role in this, and this morning I’m particularly interested in how it plays out with Sara.

In episode 2.1 of Young Royals, the Manor House girls initiate Sara into their circle. This initiation ceremony includes various costume items, all of which evoke with different archetypes and provide foreshadowing for the group’s eventual split. The girls cover Sara’s face with a witch mask, and have her wear an apron painted with a garishly bright and headless naked body, including prominent pillow breasts. For a portion of the initiation, Sara wears a princess’s tiara—something that is taken back by Fredrika, who anxiously explains about it being a family heirloom.

As we saw with Wilhelm’s initiation, and with initiations of this sort in real life, there is often a stage of the process that involves degradation or humiliation of the initiate before they are fully integrated into the community. The Manor House girls decide to degrade Sara with the breast-apron and the witch mask. Let’s unpack these symbols a little more. The nakedness of the apron speaks to with the idea of being exposed and vulnerable, but also—in this case—has connotations of sexuality and sexual awakening. It’s hard not to think of the way people cut teenage girls and adult women down by slut-shaming them. As for the witch, witches are folkloric outsiders. People of all genders in modern times have reclaimed the label of witch and found the empowering aspects of non-conformity, the same way Sara sometimes tries to empower herself by saying “I don’t need to fit in anyway” especially early on in the series. At the same time, we can’t ignore the way that historical accusations of witchcraft and witch trials have been used to push women out of their communities—especially older women, and women who were experiencing mental illness and neurodivergence. There’s a difference between claiming the role of the witch for oneself, and having it slapped on you as you’re forced out of the place you call home.

What about the tiara? The tiara of course invokes the archetype of the princess, and more broadly the idea of royal women. By joining Manor House, Sara has gotten a chance to “try on” royal status, but she doesn’t get to keep it. Fredrika taking the tiara back shows how quickly the can girls take back their welcoming of Sara, and how conscious they all are of Sara’s outsider status even when she’s passing her initiation with flying colors. (Lighting the banner on fire? Iconic.) I love how layered the symbolism of the tiara is, and how organically it fits into the Hillerska universe. It makes total literal sense that these landed rich kids would bring a family heirloom like that to school, use it for their teenage antics instead of like going to the drug store for bachelorette party supplies or whatever, and then get nervous about breaking it or getting it dirty during aforementioned teenage antics. And yet, the fact that this item has a history in Fredrika’s family shows that there’s a real system of power and wealth and lineage beyond the tiara—a system that works against girls like Sara.

Note that the tiara appears again in 2.5, when the girls are doing their TikTok video. The camera is panning across the dormitory wall when the voice on the video says “Who’s going to be the first to get married?” The camera lingers for a moment on a Polaroid of Sara during her initiation, where she’s wearing the breast-apron and the tiara together. This combination of power (tiara) and reproductive biology (apron) are a glaring reminder that the monarchy’s historic power has relied upon bloodlines to keep it going, and that they’ve used dynastic marriages to secure and maintain those bloodlines. This raises the question: does Sara reinforce that historical pattern with her gender in a way that Simon can’t, or disrupt it with her social class the same way her brother does? The camera cuts away from the photograph and over to the Manor House girls, who push Fredrika forward and she mimes showing off an engagement ring.

(Tangent: I keep wondering if Fredrika’s going to end up in a somewhat significant heterosexual relationship next season. I don’t see it taking over the plot but I can see it being used to develop themes.)

Let’s move ahead to the girls’ falling out and where Sara ends the season. Felice is upset with Sara in a fairly nuanced way; we know what she feels most betrayed by is Sara being in love with August when August did horrible crimes and Sara knew about it. Felice is trying to grapple with the complexity of Sara—she’s seen a side to her that she didn’t know about before and couldn’t have easily predicted. I think it’s fair to say that even if Felice is furious with Sara and feels deceived, she’s still seeing Sara as a human being. She’s just seeing a human being she doesn’t want to be friends with anymore.

Stella and Fredrika, meanwhile, don’t see Sara—they only see the initiation costume. Sara, the witch, is disloyal to Hillerska conformity and should be cast out. Sara, the blatantly naked girl, went and slept with a boy she shouldn’t have. I think it’s worth pointing out that while, yes, August did crimes and Sara knew that, Fredrika and Stella don’t know this part of the story. From their perspective, they are attacking Sara for… *checks notes*… hooking up with a guy that Felice dated last semester and never really cared about?  They’re mad with Sara for being so “naive” as to be “manipulated” by the school’s notorious player (even though Sara did a fair amount of initiating in the relationship and August was infinitely less harassment-inclined toward the other Hillerska girls in season 2?) While, in life, sometimes slut-shaming is really obvious, there are other times where it’s covered up by flimsy excuses. “I’m sex-positive, I just think in this case she should have…” Stella and Fredrika are not making the case for justice or accountability. Again, they don’t know what this has done to Sara’s relationships with Simon and Felice. They’re enjoying the opportunity to tear Sara down and reinforce the values of their insular, elitist community.

This is precisely what makes Stella and Fredrika so interesting to me. Until they clear the air about whatever’s going on between them (we know Stella has unrequited romantic love, but Fredrika’s romantic feelings are unconfirmed, and it’s clear they haven’t had a real conversation about it) they are inclined to lash out at authenticity in others. Their joking about the sex tape and surrogate mothers in 1.6 kinda happens along the same lines. Sara has the authenticity of the witch archetype and allows herself to be emotionally naked/vulnerable in that moment, holding true to her heart even when it’s weaponized against her. This is why her parting line to Stella and Fredrika, about how at least she can be honest about her own feelings, is so satisfying to me. YMMV, of course. But I think it says a lot about who Sara is and what she’s willing to own, even if she takes a while to process a deeply messy situation and let go of what she loves.

(This is also why Maddie can’t be present in the scene. Maddie is chaotically authentic and only follows Hillerska’s rules when she wants to. She’d be chiming in like, ok yeah he’s evil trash but he at least went down on you right?)

To wrap up, I want to address Sara’s final look of the series. The word that comes to mind when I think of her final outfit is “dislocated.” Sara’s left her riding pants behind on the dorm room bed—a symbol of breaking with her friends, and specifically the way they’ve weaponized their wealth against her. As she leaves Hillerska’s grounds with her rolling suitcase, she’s wearing her skirt and blouse, but not her blazer and tie. She’s still somewhat attached to the school, but not in the way where she’s wearing their logo anymore. She also wears her purple shirt, reminding us of Simon’s infamous purple clothing accents, and I think we’re supposed to see this as her thoughts being partially with her brother and the home she grew up in. While Sara begins the season in caught up in a jumble of archetypes, she ends the season in a different kind of liminal space: between two worlds, but not really anchored in either of them. This makes me wonder where Sara will end up in season 3 physically. We’ve all assumed she is going back to Linda, but it may be that she tries something really unexpected, like moving in with her dad or trying to make it on her own now that she’s eighteen. Both of those things make me worry for her.

Sara’s future home is another issue entirely, so I’ll bring this back around to character arcs. There’s themes going on in season 2 about how people can get pigeonholed into certain fairy tale archetypes, and a lot those themes get reinforced through costuming choices. At the end of the season, we’re being asked to see Sara as a person—her sparkle and flaws all as once, just as she is.

BONUS COSTUMING NOTE: did you notice that Sara is predominantly dressed in white during the Valentines ball scene, while Felice is predominantly dressed in black? Please note that this is the episode where August begins scheming again and in the episodes that follow we see him lurking around the chess board in the common room and talking to the other third years about how to win chess and stuff. My point is, FELICE AND SARA ARE THE CHESS QUEENS THIS SEASON. I THINK IT IS SUPPOSED TO BE ON PURPOSE. I love the way this show makes me think!

[allisonreader]

After reading this one particular post, it had me thinking about The Hidden Royals again; and how while the first part doesn't have any characters falling in love (because all the characters are already married) the second part potentially does.

Poor James Ravenswood is going to have a lot thrown at him. The boy is essentially a horse girl and works in the Shadfeian Royal Stables. His biggest sort of goal/dream is to work his way up the Stables' hierarchy, from stable boy to head groom. Which he's relatively on track to doing. Through his stable job he meets the Shadfeian Princess in a round-about way. But it's also how he is spotted and taken to Roland to be condemned.

Anyway, my big revelation was that with the way I potentially see James and the Shadfeian Princess meet is that the princess (who is also a bit of a horse girl, but less than James) is that she's ridden further out than she's supposed to and something either spooks or otherwise unsettles her horse in a way that is dangerous to her. James happens to be nearby and is able to settle her horse. The big realization is that he'd probably have worked with the princess's horse which would help in calming the horse down.

Clearly this would happen before Roland's man has spotted James. I also see it happening before he learns that he too is actually royalty and a prince.

[simonsfish]

Chapters: 1/1 Fandom: Young Royals (TV 2021) Rating: Teen And Up Audiences Warnings: No Archive Warnings Apply Relationships: Simon Eriksson/Wilhelm, Sara Eriksson & Wilhelm Characters: Sara Eriksson, Simon Eriksson, Wilhelm (Young Royals), Rousseau the Horse (Young Royals), Felice Ehrencrona Additional Tags: Alternate Universe - Different First Meeting, Simon doesn't go to Hillerska, Wilhelm and Sara are friends first, Wilhelm is a horse girl, Horses, Bad Parent Kristina (Young Royals), Flirting, Wilhelm Needs a Hug (Young Royals), Wilhelm falls for Simon immediately, Fluff, Slice of Life, Pre-Slash Series: Part 2 of Young Royals Week 2023 Summary:

Sara nodded. “My brother.”

“Your brother who hates the monarchy?” Wille asked, grinning. Sara had talked about her brother a lot, but never mentioned his name before now. Simon. Wille liked the way the name felt in his mouth, although maybe it was just that he liked the way she talked about him in general, with pride in her voice. Wille was fairly sure no one spoke about him like that.

Sara nodded again, smiling fondly. “Yeah.” Her smile faded a bit. “It’s odd, not being in school together anymore. He still goes to Marieberg.”

-- -- prompt, day 2: Alternate Meeting

Wilhelm meets and befriends Sara first, Simon doesn't go to Hillerska, and Wille is still completely gone for Simon once they meet. Feat. Horse Girl Wille

[artadorkable]

Princess flurry heart ,Future empress of the crystal empire. This one was hard sense we never seen an adult version of her before the show ended. 💕💙💜💖❄️👑

[trentonsimblr]

HRH Princess Kennedy of Druzar with her horse Marley

[oakappleday]

I LOVE Lady Louise's outfit here. The equestrienne realness of it all

[dreamyelectronicmusic]

In the upcoming chapter of my fic, maybe now maybe here tonight, we find out what happened to Rousseau. Is it relevant for Simon's and Wille's journey? Not particularly, no. Am I still including it because s3 did my boy dirty? Yes I am.

[cultivating-wildflowers]

reading a book from my childhood and realizing how much inspiration I took from it for one of my own novels

[toonvasion]

Fuze Empress...horsed

I have a long time crush on Empress...now she's a horse. How nice. da-fuze {fa:dafuze)

[hrhzaratindall]

Zara Tindall at Calmsden horse trials on Tuesday riding one of her new horses ‘pinch me’