1: Magic is a Metaphor < 2: Morgana is a Lesbian < 3: Merlin is Gay < 4: Arthur is Bi
Do you remember when you were bullied in middle school? Because if you're reading this, I think it's fair to assume that you were. And your parents would say to you, 'that boy is just being mean to you because he likes you'. That's what this is.
Arthur is just so repressed. He has really bad daddy issues, and he doesn't know how to express his emotions, and he's really uncomfortable with physical intimacy, especially with other men, especially with Merlin. And this isn't me trying to psychoanalyse away his heterosexuality. It is a very evident part of his character.
And another big part of his character is that he has inherited all of these bigoted ideas about magic from his father that he has to work to overcome. Because, of course, Arthur himself is born of magic, but his dad is so ashamed of it that he hides the true circumstances of his birth from Arthur. Honestly, I don't know exactly how that would fit into this whole metaphor. I do have a half-formed theory that it could be interpreted as an allegory for intersex identity, I know that a lot of people headcanon Arthur as trans, so idk there could be something there. But regardless, it is only through his relationship with Merlin that he is able to overcome this magicphobia, because he realises: how could it be wrong when everything about Merlin is so right. And I just feel like there's a metaphor in there somewhere.
Of course, I have to mention this iconic quote from the audio commentary of the final episode: when the executive producer refers to Arthur taking off his royal seal to give back to Guinevere as passing over "the last vestige of his heterosexu- oh sorry, I mean his marriage." So, they knew exactly what they were doing.
I also thought I would just draw your attention to the fact that at one point Arthur says, "I only care about my men, they're more than friends, more than brothers." Now, I think we can all agree that out of context, that is a very gay thing to say, and yet somehow the context is even gayer, because Arthur is pretending to be talking about the Knights of the Round Table, but he's actually talking about Merlin, how Merlin is the only person he cares about, more than a friend. And then Merlin responds, "I understand. I wish I didn't, but I do." It's barely subtext at that point. This of course, brings me to my final argument:
Arthur risked his life to save Merlin at least eight times. It could be more than that, I genuinely lost count. And you have to keep in mind that Arthur is the King of Camelot and he doesn't have any heirs. It is quite important that he stays alive. And yet anytime that Merlin is in the slightest bit of danger, he will just drop everything to protect him.
And it's really only in those moments where he's faced with the thought of losing Merlin that he shows him genuine emotion. Such as in this scene (which was cut out of 4x02 purely because it was too gay) where Arthur is planning to sacrifice himself to protect Merlin, again, and he gives Merlin his mother's sigil, the only thing he has left of his dead mum and he wants Merlin to have it as something to remember him by. Also, apparently in medieval times giving someone your family crest was basically a marriage proposal, so that's pretty gay.
You know what else is pretty gay? Telepathically communicating with Merlin and then immediately leaving Gwen in the middle of an active war. This is literally the last time that Arthur and Gwen ever see each other. Poor Gwen.
In conclusion, Merlin is the story of gay sorcerers and bisexual knights getting into love triangles. Everyone in this show is queer and you cannot tell me otherwise.
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[8]
(low key hilarious in the most painful way: Syaoran not even emoting when he gets stabbed)
(The contrast between Lava Lamp's outright horror at Syaoran's stabbing,and Syaoran just like :| )
BUT ALSO HE REACHES OUT TO DO A MAGIC BEFORE HE SUCCUMBS TO HIS WOUNDS
Oh! Oh wow, Big Magic?
A Very Big Magic. The biggest spell we’ve seen.
Is he… is it going inside Evil Wolverine’s dimension? Is he ripping the portal open?
PULLING THAT DIMENSION ALL THE WAY OPEN WITH HIS MASSIVE FAI MAGIC??
WHY IS THAT THE END OF THE CHAPTER
THAT WAS AMAZING
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POV: you are about to be turned into the world's sparkliest newt
For the @flufftober prompt "I've got you."
Heads up that I am going to be trying to post a little something for as many days of October as I can but I'll be jumping around between prompt lists (and will probably continue doing the Flufftober ones into November / December since they don't mind late submissions and there are lots of cute ones I can use as warm-ups).
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Thank You, Jeeves! (1936) - The Better Version
This movie - the earliest extant Jeeves adaptation - is overwhelmingly terrible and you shouldn't watch it. However, despite being completely out-of-character, about 25% of it is honestly still kind of fun. So as a collaborative effort between myself and @beetle-goth, we are happy to present you with a supercut of all of the scenes in this movie that are entertaining, with nearly all the rampant racism and sexism cut out. Will it make the movie good? Maybe not! But at least it will be... better.
This version has a few silly editorial comments inserted in by the both of us. If you want the version without our silly comments, you can find it here.
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What do you think as Hermione's career would be post battle of Hogwarts? To me her being minister for magic really doesn't make sense. She does not have patience or tact to wade through murky waters of politics 😭😭
So hard to say! The Trio are so, so young when we leave them, I find it almost impossible to project their futures farther than a few years out. The job that suited me at 17 would be radically unsuited to me now. That's why of all the Trio, Ron's ending strikes me as the most realistic — he jumps straight into the save-the-world business again, burns out, realizes he's actually Done The Fuck Enough, Thanks, and pivots into a low-stress career where he gets to see his family a lot. Feels accurate! The others are weirder to me because they do seem to just... pick a lane and stay there.
With Hermione, you could spin her a couple ways. You could say that she leans into her bookish side and does research or teaching, which is not my preference for a couple reasons (namely, I don't think Hermione would like academia as a profession; she finds her classwork interesting and enjoys intellectual validation, but she'd be stifled and wasted in a DPhil program, and she'd be infuriated by the administrative politicking of your average higher-ed faculty). You could say that she gets disaffected with politics and ends up as a barrister or a lobbyist of some kind, but if anything that requires more political finesse, because you don't actually have institutional power, you're just handling the people who make decisions and trying to persuade them of your goals. This is not Hermione's preferred method of influence. She's not even particularly good at persuasion, she just happens to be smart enough (and right often enough) that people take her ideas seriously.
Or you could say her brashness fades with the years into a softened flavor of tell-you-like-it-is honesty, which some politicians actually do successfully trade on; as we see in British politics today, you don't have to be all that charming or clever to get ahead, you just need to be really driven and well-connected (which Hermione completely is; she fought shoulder-to-shoulder with the first postwar Minister and her bestie, the Literal Messiah, runs the Auror Office.) But I don't know if Hermione especially wants to be Minister, after the war. She's just watched years of horrendous bureaucratic incompetence plunge the country into a violent civil conflict. She's had not one, but two Ministers of Magic try to bully or shame her friends into complicity with fascism. Her view of government is... likely extremely dark.
But Hermione also isn't the kind of person who sees her life as a quest for happiness. Babygirl has a savior complex that makes Harry look selfish. (She basically kills her parents — yeah, obliviating is a form of murder, #changemymind — "for their own good," and justifies every batshit, vindictive, mean-spirited move she ever pulls on the grounds that it "helps" one of her friends.) She is a mean, lean, dragon-slaying machine, and she needs a dragon. After Voldemort, the Ministry is the no. 1 threat to muggle-borns and non-wizarding Beings. As a war heroine with basically infinite political capital, I'd be surprised if she didn't try to do something there. That said, Hermione is so vivacious and dynamic that she could potentially grow in a hundred different directions; it's possible that all of this, while true of her at 18, becomes completely inaccurate by 22. That's why I'm not too fussed about any particular fanon interpretation.
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My personal feelings in the Fionna and Cake ending is that it was perfect.
The story showed about how we can only control what is in our very personal and small world and not worry about or take on the responsibilities of that outside ourself.
We will make mistakes and wish we could rewrite them over and over and over until it’s perfect but we can’t. We will hate aspects of our lives and adore aspects of lives we don’t know the intricacies or hardships of but we can not insert ourselves. We have our own lives to live and rather than define it by a given purpose let us define the purpose as we go along. Not everything is revealed when it’s over, you may not get the answers but it’s okay to go somewhere and not know.
Some endings are happy, some are sad and some are just that, endings. They don’t have neat little bows or a “The End” on the last page but they allow us to put the past down and move on to whatever else lies ahead.
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