Queer Bridgerton Headcanons Part 2
Benedict has known Anthony's gay for years and often covered for him at school when Anthony slipped out for any rendezvous with another guy.
Colin, dear sweet oblivious Colin, has no clue.
Eloise knows, of course. She and Benedict have discussed how bad Anthony is at hiding it.
Daphne knows, but she thinks she's the only one in the family who knows. She assumes Benedict probably knows, but she doesn't have the highest opinion of Benedict's intelligence (unfairly so, but that's how siblings are).
Initially Daphne covers for Anthony and Simon (hence the Fake Dating thing with her and Simon) because she thinks they'll get themselves sorted out but when they DON'T because they're idiots, she decides she Must do More about it. That's why she starts flirting with the Prince.
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Okay this shot of Colin is giving me the vibes of this little part of their first night together:
He's figured out that he loves her before this moment but he's just feeling so much that he also can't believe it's all because of Penelope, his lifelong friend who he didn't even see any other way before this season. He's like: "What the fuck and how the fuck are you making me feel these things" and I LOVE IT
He also looks like he was crying (or maybe that's just me) but that would also bring the whole scene on another level
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Can we just...stop comparing Colin to Anthony? Please? They aren't remotely close to the same person, and it's frankly disheartening to see time and time again now.
"Colin had no trauma related to love and self worth to deal with like Simon and Anthony had."
Unless I am very much mistaken, Colin and Anthony have the same father. They both watched said father die from a bee sting. They both watched their mother hold her dying husband in her arms and sob because she just lost the love of her life. The only difference? Anthony was 18, and Colin was 10-12, depending if we're talking show or book. Regardless, watching his father die absolutely gave Colin trauma.
Colin was sent off to Eton not months after his father died. He never was able to process it with his own family, because they stuck together and processed it together. But Colin had to go away to school. And when he was home, he would bring flowers and play games and try to keep everyone smiling. The only way he felt useful was to focus on everyone else's happiness and diminish his own needs.
He went away on travels each year to try to find himself, process his own trauma and experiences. His engagement to Marina blew up in his face, so he immediately left to go traveling, to lick his wounds away from the rest of the ton. And while he was gone, Penelope was the main one to read and reply to his letters. When he got back, his own family diminished him, said it was a waste of time, that his "prattling on about his travels" was boring. So what did that teach Colin? That his family doesn't care about him. Doesn't value him. Doesn't find his time, his experiences, worth it. Eloise says to Pen (in front of Colin) that she found his letters about Greece dull, and couldn't finish them.
So at the beginning of season 3, when he's returned from another summer away, after no one in his family replied to a single one of his letters, and in the carriage to the presentation, he's absolutely going to not want to talk about his travels with Anthony. "Who are you and what have you done to our brother?" You happened to Colin, Anthony. Colin is masking and pretending like his travels weren't a big deal, that they didn't affect him, when he straight up tells Penelope later that he used the time away to remake himself into a new man. To try out a new persona, away from the ton, where no one knew him as Colin Bridgerton, or as a Bridgerton at all. He was just some nameless man.
He felt like he had no one back home to care about him, so the problem must obviously be him. That there was something wrong with who he is as a person, and that maybe this new version of himself would finally make the people back home--and his family--care about him. Maybe this version would finally be the version of him that's good enough.
So when he comes back to London, he's a flirt. He plays at being a "rake." He sleeps with random women. He goes out drinking with his "friends" all the time, laughs with them at their conquests. But he doesn't enjoy any of it. His mother tells him that he's always been one of her most sensitive children, always putting others first, helping them, trying to lighten the mood. But she also says that he downplays himself for the sake of others. That he puts on armor, that he needs to not put others first so he can ensure that the armor will not some day rust and be unable to be removed. She is possibly the only person who sees Colin, truly sees him.
He feels like he needs to hide his sensitive side, be less needy, be stronger, be more manly. (I would eat my hat if Anthony hasn't told him to "be a man" more than once.) This flirty rake is not who he is at his core. At his core, he is kind, and sensitive, and craves connection. He craves connection so deeply. He wants to be seen, to be loved, to be cared for, to be cherished. Ultimately, he wants someone to value him, like he does for all those around him that he cares about. His family ignored him for that entire summer, and he still brought back incredibly thoughtful gifts for each of them, that shows how much he knows them and loves them. He wants to be able to love, care for, and cherish someone in return.
How is his desire for love and to be loved and this ease in which he creates a new Colin to try and please everyone else not a trauma response related to love and self worth?
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the fact that in the first moving poster, we have Penelope angry and upset at Colin, closed off, pulling into herself, and he is yearning for her and confused, just wanting to reach out and touch her and knowing he can't do so because of the walls between them, so he grabs his own wrist, and he holds back, and they're both more on edge for it
and in the second, we have him breaking that barrier to gently trace along the edge of her neckline, softly whispering over her skin, and she reaches up to hold him in place, as though to say 'stay, don't pull away', melting into him as he leans into her, and he even lifts his fingers to wrap around hers as she holds on because the distance they had wasn't serving either of them positively. almost as if, only when they're together, anchored into one another, can they fully open up
one might even say they
unfurl
like a flower in bloom
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She didn't move, too perplexed by his actions to give her legs the orders to step down. There was certainly no reason he had to accompany her inside. Propriety didn't really demand it, and-
"For God's sake, Penelope," he said, grabbing her hand and yanking her down. "Are you going to marry me or not?"
Julia Quinn, Romancing Mr. Bridgerton
I want to think that Edmund finds incredibly funny, yet embarrassing, that one of his children proposed in jail, another after fondling a lady on a carriage, and his eldest son didn't even get to propose because of a bee sting
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If Bridgerton Season 1 Was GAY
A list:
Anthony's ridiculous possessiveness over Daphne isn't about DAPHNE, it's about SIMON
Jonathan Bailey did a great job playing a straight guy but did you NOTICE THE LOOKS BETWEEN HIM AND SIMON, because I sure did
Anthony's bizarre insistence that Daphne MUST NOT marry Simon makes MORE sense if he's gay and in love with Simon (yes, yes, yes, I know it's because Julia Quinn was writing the modern and very historically inaccurate Brother's Best Friend trope, shush)
Anthony's whole thing with the opera singer/Sienna was comphet, with him trying so hard to be straight for his family
Aside from the fact that Daphne is an emotionally manipulative immature teenager, the Prince would have been a much better choice for her than Simon was anyway! Leaving Simon free for Anthony. ;)
If Daphne had figured out early on that Anthony and Simon were in love with each other and decided to act as their cover, it makes the ENTIRE season 1 plot of fake dating make WAY more sense. (Because NEITHER the Bridgerton books nor the Netflix show portrayed the Fake Dating trope in a way that made ANY sense historically. Or even non-historically. It was so limiting.)
Seriously. It makes so much sense.
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Since we see Cressida smile after Eloise imitates her in the short clip Netflix released, I wonder whether their friendship starts as an arrangement and grows from there. Eloise decides that she's going to actually give the marriage mart a shot, and so she enlists Cressida to kind of...take her under her wing (note Cressida's much larger fan, representing, perhaps, the wing of a mother bird? Idk - if they're doing literal ice and butterfly dresses, it's possible 🤷🏽♀️) and teach her how it's done. And she hates it (of course she does, Eloise will always hate being told to act like a doll on a shelf). And Eloise hating it gives Cressida, the girl we've always assumed enjoyed it the most, the freedom to admit to herself that she hates it, too.
(Fellow sapphics, imagine Cressida giving Eloise dancing lessons when they're alone. Think what that could lead to....?)
It's the season of the wallflower, but, often, even the most beautiful and seemingly outgoing girls have their issues with the spotlight. Cressida has never been the diamond because she puts up such a mean, haughty front. But is that all that she is? A mean girl? They're clearly paralleling her with Penelope. Is Penelope only a nosey, backstabbing gossip, too cowardly to say the things out loud that she prints in secret in her borderline-libelous rag? I don't think the show believes so. She's been characterized as an observant young girl with a clever mind who gets overlooked because of her parentage and her figure. She's grasping for some power in a world where women were powerless. Cressida is likely the same.
Even if neither Eloise nor Cressida is one of the gay characters, I'm still really excited to see this play out. Eloise learning to have empathy for her enemies could certainly help her grow as a character.
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