just did a uQuiz with a friend about which Persona 3 char i would be, and apparently im

which i don't know! because i have never played P3. my friend is the only person that has played it

I think what really gets to me with the finale is that Merlin was so close to getting Arthur to the lake. Yet, there was no plan beyond that. It's like even if they did get there, who knows if anything would have happened.

The idea that there was still more tragedy awaiting even if they made it, that yeah despite all of Merlin’s magic, he couldn't save Arthur's life.

It was always the possibility of the Sidhe, but there was no guarantee. It was all hope from the start, endless hope that failed them in the end.

Because well, it was always supposed to happen like this anyway... Arthur was meant to die so he could rise again, there was no alternative

"Colin should have grovelled more!" "Penelope folded too easily"

I think statements like this typically come from people who like Penelope. . .but don't really understand her. And don't really understand just why she cares for Colin, and just why him groveling would not in any way bring her peace.

Penelope and Colin are kindred spirits in their loneliness, in season 3 more than any others. Penelope had lost her friendship with Eloise, and Colin didn't really have a close friend circle to begin with. Except with Pen. Pen was the person he could put the mask down for, could open up to, (in particular with their 'dreams' discussion) and that's why he couldn't even entertain the idea of giving up talking to her in Season 2. She is a vital part of his life, and holds so much significance and importance to him.

I imagine that's what made their silence over his travels especially painful for him. They spent such a long time talking after Season 1, and he even informs her that her letters were so encouraging, that it helped him heal something inside of himself. That if she could see him in a gentle way. . .so could he. (And he repays this, because he is honest to god out here acting and looking at her like she hung the moon in the sky). But without her presence in his life, he spiraled. Didn't feel confident in being who he is, and thus put on his persona more firmly. We know this because he wrote in his journal that "I want to be less needy, less insecure, while still maintaining the core of my vulnerability that makes me who I am". That he misses his family, that he misses home.

And we know, from the books, that Home? Home is Penelope. Penelope is his North Star, is his guiding force, and who I argue he feels he needs. In his very first scene, he looks toward her house, tries to find her in the window. When he does not, he returns to his family. In the outdoor gathering, he looks for her and finds her, eager to talk. He states aloud that he misses her, and I imagine he wrote it, too. Not hearing back from her over the course of his travels was surely something that hurt him, but he doesn't hold any ill will toward her for it, only wants to reconnect again. In fact, the one and only time he brings up how he misses her and that she didn't respond, she makes very clear the reason why: she heard what he said and it hurt her. And he's ashamed of it.

Colin hears her call him cruel, and instead of ruffling his feathers about it, instead of getting upset, instead of having a chip on his shoulder as I feel so many men would about it. . .he understands why she does so.

Penelope is a woman who has been largely treated poorly in her society. She feels unheard, she feels undesired, and in her circumstances, and I can't help but ask myself. . .has anyone ever truly apologized to Penelope for hurting her, before? Her mother? Her sisters? Eloise, likely, but. . .anyone else? And the way Colin did? Because of all the characters in the show, Colin? Colin knows how to apologize. He has a lot of practice in it. And very importantly: Colin, a man of privilege in his society, apologizes. . .predominately to women. To Marina, to his mother, and multiple times to Penelope.

Ultimately, Penelope wants to be heard, Penelope wants to be understood, Penelope wants to feel desired.

And Colin checks every single one of those boxes. He informs he is not who he was before, and then he proves it to her. He hears that he hurt her, and he comments on it directly. An entire night apart, and he comes back to her 'Because I embarrass you' with 'I am most certainly not ashamed of you', replies to her 'I am a laughingstock' with 'you are clever, and warm, and I am proud to call you my good friend'. He hears her proclaim her own insecurities, and empathizes so deeply with her. He listens. He understands. He makes clear that he cares for her, and that she *is* desired. 'You lift my spirits' 'I seek you out at every social assembly'. That she helps him see the world in ways he loves, that he sees HER and how much she has cared for HIM, that she makes him feel appreciated, that he appreciates her, in turn.

And then? Then? He shows her. He tells her, and he shows her. His actions all throughout Season 3 reinforce this apology. He continues looking for her in every corner of every ballroom, he continues complimenting her, he laughs at her jokes and respects her boundaries, he is ever so gentle with her, he listens to her with an attentiveness that no one else has ever given her. To Lady Whistledown? Sure. But to Penelope? Who else in the entirety of that ton has listened to Penelope the way Colin has?

Absolutely no one.

Penelope Featherington ghosts Colin Bridgerton for months with no explanation, and Colin comes back wanting to reach out to her, and she finally tells him why.

And he apologizes. Because he listens. Really, truly listens. And really truly cares.

I need you to understand how rare that is, even nowadays, but especially back then. That Colin is the kind of man who can put his hurt to the side and realize he made a mistake, that he said something callous, and he adores her, and he can't lose her, and he has to see her and make it right.

Because that's why Penelope fell for Colin. Not because he's beautiful, not for his charm, not for his family. But for his heart. Because he shows her kindness in a world that so often disregards her. Because he seeks her out and tries to understand her, truly hears what she has to say and compliments her, says he's sorry and looks at things from her perspective.

Because he saw her when she was invisible.

Penelope Featherington, who grew up in a house that made cruel jabs at her, has Colin Bridgerton come to her and say he regrets what he said, and that he was wrong, and that he understands why she's mad at him. Penelope Featherington who has so rarely had much of anyone tell her that they're sorry for what they said about her, sits before Colin Bridgerton as he professes how much she means to him. That he cannot even spend a full day away from her knowing they're on bad terms with each other without making it right. That he sees how she is hurting and he has to in any way he can amend it. She is lonely, with no one really in her corner at the start of season 3, and she feels like she lost it all, and Colin comes to her and says 'no, I'm here and I appreciate you and you are special to me, please let me in and let me prove it'. Is it any wonder why after she shakes his hand, she stands in the sun, and she feels the warmth of it, she can smile? That she can breathe, again? That she can be truly content for the first time in the season?

Because Penelope Featherington does not want Colin to beg. She knows him. She knows the tender, full heart he hides behind the new cavalier persona. She knows the soft underbelly of Colin Bridgerton.

He never had to grovel. All he had to do was love her. Assuredly. Fervently. Loudly. Unapologetically.

And he does.

job applications: this is entry level! anyone can apply!

job applications: ...as long as you've done at least six months of highly specific work, or have this exact degree, or if you kissed a chicken during the last moon of 2012-

absolutely hilarious when people say 'you know neil gaiman wouldn't want you to do this" as if i, a lesbian, give any fucks about what a straight man would think of me

Margaret of Anjou’s visit to Coventry [in 1456], which was part of her dower and that of her son, Edward of Lancaster, was much more elaborate. It essentially reasserted Lancastrian power. The presence of Henry and the infant Edward was recognised in the pageantry. The ceremonial route between the Bablake gate and the commercial centre was short, skirting the area controlled by the cathedral priory, but it made up for its brevity with no fewer than fourteen pageants. Since Coventry had an established cycle of mystery plays, there were presumably enough local resources and experience to mount an impressive display; but one John Wetherby was summoned from Leicester to compose verses and stage the scenes. As at Margaret’s coronation the iconography was elaborate, though it built upon earlier developments.

Starting at Bablake gate, next to the Trinity Guild church of St. Michael, Bablake, the party was welcomed with a Tree of Jesse, set up on the gate itself, with the prophets Isaiah and Jeremiah explaining the symbolism. Outside St. Michael’s church the party was greeted by Edward the Confessor and St. John the Evangelist; and proceeding to Smithford Street, they found on the conduit the four Cardinal Virtues—Righteousness (Justice?), Prudence, Temperance, and Fortitude. In Cross Cheaping wine flowed freely, as in London, and angels stood on the cross, censing Margaret as she passed. Beyond the cross was pitched a series of pageants, each displaying one of the Nine Worthies, who offered to serve Margaret. Finally, the queen was shown a pageant of her patron saint, Margaret, slaying the dragon [which 'turned out to be strictly an intercessor on the queen's behalf', as Helen Maurer points out].

The meanings here are complex and have been variously interpreted. An initial reading of the programme found a message of messianic kingship: the Jesse tree equating royal genealogy with that of Christ had been used at the welcome for Henry VI on his return from Paris in 1432. A more recent, feminist view is that the symbolism is essentially Marian, and to be associated with Margaret both as queen and mother of the heir rather than Henry himself. The theme is shared sovereignty, with Margaret equal to her husband and son. Ideal kingship was symbolised by the presence of Edward the Confessor, but Margaret was the person to whom the speeches were specifically addressed and she, not Henry, was seen as the saviour of the house of Lancaster. This reading tips the balance too far the other way: the tableau of Edward the Confessor and St. John was a direct reference to the legend of the Ring and the Pilgrim, one of Henry III’s favourite stories, which was illustrated in Westminster Abbey, several of his houses, and in manuscript. It symbolised royal largesse, and its message at Coventry would certainly have encompassed the reigning king. Again, the presence of allegorical figures, first used for Henry, seems to acknowledge his presence. Yet, while the message of the Coventry pageants was directed at contemporary events it emphasised Margaret’s motherhood and duties as queen; and it was expressed as a traditional spiritual journey from the Old Testament, via the incarnation represented by the cross, to the final triumph over evil, with the help of the Virgin, allegory, and the Worthies. The only true thematic innovation was the commentary by the prophets.

[...] The messages of the pageants firmly reminded the royal women of their place as mothers and mediators, honoured but subordinate. Yet, if passive, these young women were not without significance. It is clear from the pageantry of 1392 and 1426 in London and 1456 in Coventry that when a crisis needed to be resolved, the queen (or regent’s wife) was accorded extra recognition. Her duty as mediator—or the good aspect of a misdirected man—suddenly became more than a pious wish. At Coventry, Margaret of Anjou was even presented as the rock upon which the monarchy rested. [However,] a crisis had to be sensed in order to provoke such emphasis [...]."

-Nicola Coldstream, "Roles of Women in Late Medieval Civic Pageantry," "Reassessing the Roles of Women as 'Makers' of Medieval Art and Culture"

My 3 little cousins were baptized today. "Triggered" is kind of a strong word but being in a catholic church again... I'm a little fragile rn ngl.

and they’re boyfriends

More thoughts on Bruabba no one is surprised but I’m obsessed with the fanfics that portray Bucciarati as reluctant to enter into a relationship with Abbachio because he’s technically kind of Abbachio’s boss. Not because it would be an issue if they broke up, not because of anything reasonable, just the optics of dating someone who is technically his subordinate. Like is Passione’s Head Mafioso of Human Resources gonna call them into his office? Have a talk about office romances and power dynamics? Gonna make them take one of those two hour HR courses? It’s up there with “Bruno does paperwork” for me as a fanfic trope.

i'm reading the legend graphic novel for the first time and i know it's common for them to skip over a lot of details (i can only guess their budget is tiny) but some of the stuff that gets left out is ??? like the part where june goes to find kaede to ask for help in breaking day out of jail. in the book it's because she found out kaede is part of the patriots. in the graphic novel there isn't a scene where she finds out, so it just seems like she's looking for kaede for no reason

.

the flash should have ended with barry quitting his job at ccpd to become a stay-at-home husband and that's on that

If you were a chulip character how would players kiss you?

find and present to me a working copy of Dragon Ball Z Budokai 1 for the PlayStation 2 and you can kiss my stupid ass

ridi im sorry i need to rant and i think youll get it 😭 like not to be a bitch but this fandom kinda going off the rails and annoying the shit out of me https://www.tiktok.com/t/ZTRbYASpf/ everybody in the comments unironically loving it,,, i mean wtvr ship who you want but its kinda getting delusional like ppl are just operating on thin air and pretty fancasts atp and i do Not understand or emotionally connect with any of it. at least w wolfstar theres so much material and foundation to explore but what is all the rest of this?? just hot celebrity fancasts and crack. to be fair part of me respects taking a terfs canon material and making everybody gay but the way it seems to be so oversaturating fics and the fandom that characters dont even feel like their original selves .. atp its all just surface level OCs

hello! yes! i'll be honest talking about things like this always make me a little nervous, and i feel obligated to preface anything i say with a disclaimer that none of it really matters, nothing i say matters, and you should do what you like, because--who cares. i am not an authority on--anything, frankly. my opinion holds no more weight than the next guy's, and all i'm doing here is giving it, so. essentially what im saying is--people are perfectly entitled to disagree with me, but people are not entitled to be mean to me about it xx

having said that. it is my personal opinion that s x barty is one of the worst fucking things i have ever heard lol. who even is barty who is that guy. why would s be interested in him at all. i do not understand it it does not make sense to me. from where are we sourcing the character traits and personality that we are giving barty that would ever endear sirius to him, because it objectively cannot be canon.

overall i do not get the new interest in barty + evan + pandora (+ regulus, but we won't go there)...at all, other than guessing that people were bored with the marauders and wanted a new version of them (and new celebrities to fancast) while simultaneously changing next to nothing about them other than superimposing them onto the first slytherin side characters they could rustle up. i expect ive become a bit of a broken record in regards to my dislike of the popular meow-meow-ification + complete absolution of regulus as a character in order to make him a loveable oc (just as i think erasing all the negative traits that r/s have in order to make them more likeable is just as boring), and all of that applies to those other guys as well (with the slight difference that they are, somehow, even less interesting and significant than regulus in canon), so i won't get into that too much. but i think what you say about having no emotional connection to any of it is exactly right lol--it is a sort of shift? i guess? in the fandom that is simply of no interest to me. they are characters that i just have no emotional investment in and admittedly struggle a little to understand why other people do. i am emotionally invested in, like, five characters overall (and even out of those--there's only two i'm really here for innit xx) and i personally cannot extend that investment to a creepy little side character who is mentioned maybe twice in the entire series.

and that is okay! i do not need to understand it. i don't want to say it annoys me because honestly--i don't go there, its nothing to do with me. if i dont like it i just wont interact with it, and the fact that it doesn't interest me has no bearing on what other people are into or want to do, and i couldn't give less of a shit what people do with the canon material, which is largely garbage anyway. take the bits you want from it, play around with those and ignore the rest. in that respect we are all doing exactly the same thing. but yeah i think s x barty is genuinely awful lol. hate it. very terrible. he's already got a loser werewolf boyfriend and he loves him so so much. leave him alone.

Silly goofy StanNarrator (Patreon)

Doing research for Foxy's whole wild western thing with the horsies and stuff is really annoying actually? I feel like there's a lot of rodeo sports in here that either shouldn't exist, or could very easily be made totally fine if they could be bothered to put the effort into it.

Like... guys... you can train cows. Did you know that? You can train literally any animal you want... if the cow is scared when you're lassoing it maybe like... teach it to be in on the game? Let the cow play too? I feel like that's such a stupidly obvious solution to some of these man...

Not all of them though! Obviously not all of them! I'm thinking of the ones where they just lasso the horns and steer it in a different direction and that's it! The rest of those ones can fuck the hell off what the actual hell possessed anyone to consider cattle wrestling as a fucking sport? Like yeah sure a sport revolving around turning a cows head 180 degrees by jumping on it's horns seems perfectly safe and completely reasonable, not at all absolutely insane /s

Literally what the fuck is any of this I'm actually so glad I planned for Foxy to have also run various non-rodeo sports as well so I don't have to deal much more with all of this whadda hell