jesus christ, did they just game of thrones stranger things đđ
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jesus christ, did they just game of thrones stranger things đđ

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I think a number of the gripes people have with BBCâs Merlin stem ultimately from the showâs need for palatable âmonster of the weekâ weekly episodes. it was on the edge of an era that was awkward because episodes had to be interesting and a complete story all on their own in order to catch viewers over the course of 12 weeks. It, unfortunately, was too close to an era where the show formula moved away from that and moved towards people watching 5 seasons in 3 weeks if they so desired. Their formula demanded character butchering, it demanded regressing Arthur (specifically) in order for him to have significant âgrowthâ arcs per episode and intrigue new viewers who happened to stumble upon it in week 5 of 12 of the fourth season. I need to emphasize here that the whole show is based on Merlin and Arthurâs relationship which is the key piece of the central prophecy; their unhinged love and compatibility with each other IS the driving aspect of the show
If Arthur was too continually Good to Merlin in the way he was at the end of many episodes, how could he have a full story arc per episode with the same cadence they maintained? and further than that, if his love and development was ACTUALLY continuous and adding up like it realistically wouldâve been, they wouldâve HAD to have made the show more explicitly queer for it to make sense, and I donât think the writers were ready to dive into that in the late 2000s. instead they butchered the merlin/arthur relationship and individual development often enough to rebuild them with deniability
my point isnât that it makes it forgivable or even good, just that sometimes I think people contribute their gripes to other things without considering how vastly different the mindset was for making long shows back then
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watching merlin season 2 and Iâm completely obsessed with morgana and merlinâs relationship. I honestly think itâs one of the most interesting dynamics in the series they mirror each other in so many ways and for example, the camera work treats them almost identically, when theyâre speaking to someone, the shadow always fall the same way IN THEM as if theyâre framed by the same darkness!! I get that merlin and arthur are meant to be âtwo sides of the same coin,â but merlin and morgana feel more like the "same shadow cast by the same light" and it makes me sooo ajfjowkdkaks
How do you think things would change if Draco was a girl?
Surprisingly little, really. Draco already gets some feminizing framing, and JKR really does seem to *want* to keep the wizarding world world-building more-or-less gender blind.
Like... Draco (Draca?) would still be the Malfoy heir. I think Lucius might outright dote on a daughter slightly more - he gives me serious Girl Dad vibes - but he already kinda dotes on Draco, so. Anyway, the Daddy's Girl/Daddy's Little Princess of it all would be off the charts. Draco would still try to make friends with Harry, he'd still turn her down, and she'd throw a tantrum about it.
Fem!Draco would still have Crabbe and Goyle as goons, still be into Quidditch, still be Slytherin seeker, still be Snape's teacher's pet... for all I know, Pansy would still be kinda into her. I don't see Voldemort treating Lucius' daughter any different than he treats Lucius' son. Same with Dumbledore, Bellatrix. Who else does Draco have important relationships with?
The biggest difference would be how Harry relates to her, because right off the bat Draco reminds Harry of Dudley (and if she were a girl he would probably not make that connection.) And then, when he learns that Draco *isn't* actually all that much like Dudley, he still gets under Harry's skin... because I think on some level Harry's cast Draco as "wizard default," or even - this kid has the the life I would have had if my parents hadn't died, and he doesn't even deserve it.
So, weirdly I think Book 1 Harry would be *less* hyper-fixated on Draco if she was a girl. It's be more removed, the way he thinks about Pansy. Until Draco gets on the quidditch team anyway. Harry has kind of a *thing* for girls who play seeker, and look. There's something about people with a mean streak that he also finds very compelling.
So there might be a little less "Based on nothing, I think Draco Malfoy is behind it all." But it evens out, because I also think that a Female Draco would pick on Hermione like... way more. Because now Harry has chosen Hermione OVER her. And... Hermione's a muggleborn, and so annoying, and her hair sucks and her teeth suck and she's badly dressed etc. Draco (and pansy) are so happy to spread rumors about Hermione during Book 4, I really do think that with Fem!Draco Hermione would have to put up with like... so much more of that. Even if Harry has got some kind of attraction... until Fem!Draco can be start being decent to Hermione, I don't see it going anywhere. Also I think Fem!Draco would have the hugest crush on Cedric.
I think Fem!Draco wouldn't be able to goad Harry and Ron into punching her... but she'd still be able to goad them into punching Crabbe and Goyle, so same difference. The only scene I see playing out notably differently would be the Sectumsempra bathroom scene. Like... Harry's not following Draco into the girls bathroom when she's crying. That means Harry holds onto the Prince's potion book for longer - which doesn't really make a difference - but what DOES make a difference is Harry not getting a good visual memory of Ravenclaw's diadem when he goes to hide it. Which means he's going to have a lot more trouble finding it in Book 7. Worst case scenario - that makes the Voldemort conflict drag on a lot longer. Best case scenario - the fact that they have *less* history of antagonism means that Draco is able to offer to help Harry a little more openly, and SHE probably recognizes that diadem, after basically living in that room for all of Book 6.
where is the lie. It would be 'won-won' status.
there would be a joke where Fem!Draco leaves getting a date too late (because she's delusionally holding out for Cedric) and has to go with Crabbe.
Harry obviously will not be able to shut up about her shiny shiny hair and how he doesn't think black velvet suits her and she looks better in dark green.
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I keep wondering, why did Harry marry Ginny?
If we disregard the idea that Rowling simply lost her marbles and decided to pair them up to «neatly» tie the story together, and instead base this question on Harry's character, the following answer suggests itself:
Harry grew up with the Dursleys, where he was humiliated, ignored, and made to feel like an outsider. He was considered abnormal both at his Muggle school and within the Dursley family itself. However, even after entering Hogwarts, nothing fundamentally changed. Harry turns out to be the «Chosen One», a celebrity; people look up to him and see the image of a savior, not Harry himself. So, in this environment too, he is not an ordinary boy.
Throughout all the books, he longs for two things: to be a normal, ordinary teenager and to have a family of his own. Ginny is the most obvious and expected choice. The sister of his best friend, whom he's known since childhood â «wow, how cute is that!»
So, Ginny gives him a sense of stability and inclusion into an already established, loving, and familiar family.
When Ron and Hermione became a couple, Harry might well have felt like a third wheel, as he wasn't part of their new family unit, no matter how much they loved him. Previously, he had always been part of the Golden Trio, so his friends' romantic relationship likely made him feel lonely and abandoned. Harry is deeply afraid of being left alone, and marrying Ginny automatically makes him part of the Weasley family and connects him by blood to his best friends.
Furthermore, Harry has an idealized image of a family in his head, based on the stories about James and Lily. He unconsciously replicates this template because he has no other frame of reference. Ginny is red-headed, spirited, and stubborn â in both appearance and character, she resembles Lily. But the problem is, Ginny is not Lily, and Harry himself is not James.
Harry likely doesn't know who he is outside of the fight against evil and the role of the «Chosen One». He never experienced a normal adolescent upbringing, never had the chance to figure out his own desires and interests, so he tends to move through life according to what is expected of him (by the way, I believe this is precisely why he became an Auror, but that's another story).
In general, Ginny is a convenient, safe option that gives him everything he so desperately craved: family, acceptance, and the illusion of «normalcy». But it's highly unlikely that he finds true fulfillment in it.
I donât like how Ginny never really gets a payoff/rematch of any kind with Tom Riddle after her experience in book 2. She never even gets a big moment of her own in the last battle. She really deserved some revenge which couldâve easily come in the form of her destroying a Horcrux - or even talking back to Voldemort when Harry is announced as dead, maybe even calling him Tom to his face out of spite like âitâs my turn to ruin YOUR life now, bitch.â As much as I love Neville, the imagery of Ginny killing a snake with a sword wouldâve echoed book 2 so powerfully. What do you think?
EXACTLY!!!! Ginny shouldâve killed Nagini or the one to open the chamber of secrets and destroy a Horcrux down there. It didnât really make sense for Ron to be able to do it but she couldâve. And that wouldâve been so cool. Neville shouldâve killed Bellatrix and Molly shouldâve still had her seen where she protects Ginny but it shouldâve been her killing the death eater who killed her (dolohov iirc).
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Hi. I hope you don't mind that I'm in your DM a lot. I just have a lot of questions and I really like your lore and world building.
What is your take on art entertainment in the wizarding world? Especially in Britain, but not limited? Like Theatre, Opera and the rest? Do you think they definitely or should exist? What would they be like if they did? What other forms of entertainment, besides print media, of course, exists? Especially the ones that could be enjoyed by the elite?
Hey, they're fun questions.... and worldbuilding might be my favorite thing to talk about, period.
In terms of Wizarding World entertainment - we know there's ballet (Draco mentions it.) There are concerts/musical performances, and sporting events. There are museums (Draco mentions those too) (although I'm thinking they're probably more similar to a 1700s 'private collection' 'cabinet of curiosities' kind of thing.)
Extrapolating out - Ludo Bagman strikes me as someone who would want to go some fancy *place* in order to gamble, so there are probably gambling parlors (likey run by the goblins.) There are are laws around dragon breeding/general magical-creature breeding, which makes me think that's also a thing. Which means there's probably a dog race/dog show culture around at least some types of magical creature. I would be shocked if falconry wasn't a thing, considering everyone's got an owl.
Opera would be a BIG DEAL. Culturally the Wizarding world split off in the late 1600s, so I tend to base my worldbuilding on the early 1700s... where opera was a really big deal. Also, with magic you could make absolutely stunning practical effects, sets, costumes. It would be mind blowing.
(we also know that "competitive dueling" is a thing, because of Flitwick, and I like to think it's less MMA and more WWE - less a martial art, and more half sport, half theater. In my head, wizarding operas have these absolutely stunning staged fights, and those stage-fighting skills eventually spun off into their own thing. Being a champion duelist means that you're able to do weird stuff like - cast spells with ventriloquism.)
Theater would also be a thing, there's no way it's not. And yet, no one really talks about it. So - the way I'd fix it is that in this world, the Serious Art pretty much all takes the form of opera, while *plays* ... have a bit more of their 1700s reputation. That is, they're still a little bit more raunchy and burlesque-adjacent then they are in the muggle word. Like, 1700s Restoration Comedy is a reaction to the tightly conservative society of Oliver Cromwell, and it is *bonkers.* I mean, make it wacky and whimsical too, because that's the vibe of the world. But... maybe not something that you take your kids to. There can still be family-friendly pantos and things like that.
I've also thought about wizarding specific literary tropes. I think the "Oblivious Muggle" would be a common comic character: they blunder in to a situation, and the wizards involve have to stop whatever high-stakes thing they're doing, and come up with a convoluted way to explain why the (clearly magical thing) couldn't POSSIBLY be magic. I think there are some slightly mean characterizations of social climbing/gauche/clueless muggleborns. And I think that squibs are very often villains in a "butler did it" kind of way.
Like, a lot of 1960s sex comedies straight up have the same set-ups as late 1600s-early 1700s Restoration comedy. The Country Wife (yeah, the name's a deliberate pun. cunt-try wife. the same pun shows up in Hamlet, I'm sorry.) Is about a guy who pretends to be impotent... as a way to sleep with married ladies (same basic plot as Shampoo (1968), where Warren Beatty pretends to be a gay hairdesser in order to sleep with married ladies.) AND another guy who is trying to be faithful, but has supernaturally good luck with women (which also happens to Peter O'Toole in What's New Pussycat (1965)
If you want a quick sense of the Restoration *vibe,* google "Signior Dildo" (or anything by john wilmot, honestly.) and if you read enough of Jonathan Swift's stuff (and he's probably the most famous restoration writer, to date). it becomes clear that that man was really into mommy kink, giant kink, and had very strong complicated feelings he needed to unpack re... women pooping. apologize for the potentially cursed knowledge, but restoration comedy is really interesting and a good object lesson on how the past was absolutely not more prudish than the now.
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