I'm a fangirl of many things. I flail. I ship. I squee.
I occasionally make graphics that sometimes look decent. If you want to use a gif/picture I used for a reaction, knock yourself out. Credit is very much appreciated if you absolutely have to repost a cap of mine, though. Thank you!
Sometimes it feels like i’m the only one who takes the final fifteen at face value anymore like to me there were no secret messages there was no lying there was no poisoned coffee it was just crowley and aziraphale being who they’ve always been one always trying to do good and improve heaven one following his own path and always trying to run away with the other and the desperation the heartache the emotional impact of that ending wouldn’t be as good otherwise. To me
I'm haunted by the beautiful potential in an Edwardian-era Persuasion.
A setting just after WWI, another time of major social upheaval--blurring class barriers, new ideas about gender roles, further crumbling of the aristocracy
Sir Walter blindly clings to the old order, barely thinking about the war except to lament the impossibility of getting good servants these days
Elizabeth Elliot styles herself as a bit of a women's rights activist, claiming this is the reason she remains unmarried
Anne would have served as a nurse if her father had allowed it, but of course he couldn't permit an Elliot of the Elliots to undertake such ugly work, so she stayed at home quietly undertaking the usual home-front charitable work
This war deepens the story's melancholy. There's not the same sense of the men returning home as conquering heroes. The world is changing, but is it worth what we've lost? Can we have hope for the future when all our optimistic dreams led to such slaughter?
The best way to retain some of Wentworth's glamour is to make him a flyboy. However, given their short life expectancies, I'm not sure how realistic it is to have him and several buddies survive the war.
A "band of brothers" in the trenches is also a decent analogue for their relationship
Harville's injury meant he was invalided home fairly early. Benwick's probably a wartime poet suffering from shell shock that only got worse after his fiance died in the influenza epidemic.
Louisa and Henrietta are of a slightly younger generation that hasn't been quite as scarred by the war. Their relative innocence makes them refreshing to a war-weary returning soldier
It's possible Wentworth is so shaken by Louisa's accident (and thus needs Anne to take charge) because it sparks some kind of PTSD flashback. (Though that may not be the best direction to take the character).
There's just so much potential to explore the layers--old wounds and new possibilities, finding ways to heal and grow and rebuild after pain and loss
you are personally and directly hit by a bus¹ and isekai-ed, via resurrection, into the body of the main character your most recent WIP
reblog and tell me: on a scale of 1–10, how screwed are you right now?
¹ this is, transparently, a plot device, so if you are about to tell me "joke's on you, I never leave my fifteenth floor apartment!" then you may rest assured it will have tremendous comedic value when the bus is launched into the sky and crashes through your apartment wall to flatten you anyway
I’m gonna hopefully predict the future right now because I just had such an idea. The best Les Mis adaptation of the 2020s will be an album released by a goth band. Each song will be at least 5 minutes long and the Waterloo digression alone gets about 7 minutes.
“I love the idea of what Crowley's idea of Aziraphale is. His idea is a lot more heroic and standing-up to everybody than Aziraphale's idea of Aziraphale.”
“Just as Aziraphale's idea of Crowley is somebody who can be flippant and insouciant when faced with the monsters of Hell”.
“They're probably each rather better at dealing with things than the other one is, but that's what they think the other one is probably like, and I love that”.