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Actually, no, I don't think that friendships dropping like flies in your late 20s and early 30s because no one has time for that between overwork and family obligations and marriage and kids and partners and the ritual of the time slayer is normal and ok. No I don't think deep conversations and spontaneous adventures being replaced with a tired coffee every six months is a normal part of growing up. I don't think that emotional intimacy and soul bonds disintegrating in the face of practical inconvenience is a fact of life. I think that means something is deeply deeply wrong with our society and I will never forgive it for the friends I've lost
the thing they dont tell you about learning to "trust the process" is that you forget and relearn it every single time you make a new piece of art. unfortunately there is no cure either
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I love me a pseudo-historical arranged marriage au but it always nudges my suspension of disbelief when the author has to dance around the implicit expectation that an arranged marriage should lead to children, which a cis gay couple can't provide.
I know for a lot of people that's irrelevant to what they want from an Arranged Marriage plot, but personally I like playing in the weird and uncomfortable implications.
So, I've been thinking about how you would justify an obviously barren marriage in That Kind of fantasy world, and I thought it'd be interesting if gay marriage in Ye Old Fantasy Land was a form of soft disinheritance/abdication.
Like, "Oh, God, I don't want to be in this position of power please just find me a boy to marry", or, "I know you should inherit after you father passes but as your stepmother/legal guardian I think it'd make more sense if my kids got everything, so maybe consider lesbianism?", or "Look, we both know neither of our families has enough money to support that many grandkids, so let's just pair some spares and save both our treasuries the trouble".
Obviously this brings in some very different dynamics that I know not everyone would be pinged by, but I just think it'd be neat.
This is actually a really cool variant solution to a real historical problem, wherein either primogeniture or other profoundly shitty customs led to wealthy parents having insufficient resources to provide for all of their children in a manner consistent with their station.
Historically, the Church and its widespread monastic structure functioned as a dumping ground for second/third/etc sons and all the daughters one can't afford to marry off adequately, with the military eventually picking up the slack for the former post-Reformation to the point where it's been argued that the need for something to occupy these dispossessed sons played a role in Europe's ongoing conflicts between its nations and the eventual push of imperialism and colonization over the rest of the world.
In a world where homosexuality were more accepted, it would offer a new option: spare a comparatively-small outlay of resources from the main family fortune to equip a house and accoutrements, which would be reabsorbed into the family as a return inheritance in a few decades, and contract a marriage which would be deliberately unable to produce legitimate offspring.
You get the advantages of creating marital ties with another wealthy family, the people married therein have a spouse and the status achievements that go with marriage, and the risk that your child goes off and marries someone unsuitable or inconvenient is removed entirely, as is the risk that they could marry someone and have legitimate, inheritance-claiming children with them. Sure, they can have affairs and thus get children if they're married to a same-sex spouse, but those children cannot be passed off as legitimate issue of the marriage, and so they pose less of a threat to the the main body of the family's wealth.
And, thus: perfectly reasonable reason why your pseudohistorical fictional characters can find themselves in a same-sex arranged marriage!
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me, wearing nothing but a sheer plunge-neck ballgown thatās plastered to my skin from the rain, soaking wet and trembling with cold and fatigue as i stand outside the entrance to the castle: p-please help me ;) iām s-so lost and s-scared ;) ;) i have no where to stay for the night ;) ;) ;)
the sexy vampire lady who answered the door, and to whom the castle belongs: of course ;) you poor thing ;) ;) come inside, you must be freezingā¦ you may stay as long as you need to recover from your ordeal ;) ;) ;)
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this got waaaayyyyy longer than i thought it would - part two soon!
one of the first things i noticed about brett's holmes was how he interacts with horses. we haven't even spent half an hour with him before he goes undercover as an out-of-work groom and ends up handling one of irene adler's carriage horses, and then it takes all of six and a half seconds for his experience to shine through:
the immediate, unconscious way he sort of hugs her head made me sit up and go OH?? because that's something that, as a member of the industry, i've done and seen done a gazillion times. the fact that he's also working the brush onto his hand just makes it clear how long he's been doing this.
the mare also immediately starts investigating his pockets for treats (i couldn't fit it into the gif š), and considering the gray cab horse later in the episode does the same thing, i'm inclined to think that he carried something with him a lot of the time. or maybe they're just beggars. hard to say, with horses.
^^ "treats???? no treats? RUDE"
i love these creatures.
even more under the cut:
this isn't the only episode where brett's ease with horses shows up; the other big example comes from the priory school, where we see holmes and watson on horseback for the first and only time in the series.
of the two ways of riding the trot shown here, sitting seems easier but it's actually infuriatingly difficult. when you're posting (what hardwicke is doing), you're coming out of the saddle as the horse hits the suspension point (where all four feet are off the ground) and therefore avoiding the bumpiest part of the trot. sitting, on the other hand, requires figuring out how to glue your ass to the saddle so you're not bouncing everywhere and fucking up both your back and the horse's. sitting as smoothly as brett does takes literal months, if not years of practice - look at how most of the 'bouncing' movement comes from his scarf rather than his body. that's no mean feat.
admittedly, sitting the trot is also exhausting (your core and lower back are doing so much), so i'm not surprised at all that he posts the trot everywhere else.
there's also this moment after he dismounts:
(yes his cane does get caught in the reins.) what i actually wanted to point out is how he asks for the roan's foot and how quick it is, because it's another example of how long he's spent around horses. it's definitely scripted, since there's the clue about old shoes and new nails, but you can also tell how natural the whole process is to him - he's barely thinking about the steps.
his cane/walking stick then gets used as a hoof pick, which. i mean i've seen old spoons used as hoof picks so this feels like a step up. anyway, the quick touch to the front of both hooves also rings true re: things-horse-people-do. again, he's barely thinking about the steps and probably only halfway acting.
and then, of course, there's this shot from master blackmailer:
honestly, that whole scene in the park is a pretty good showcase of how long he's been handling horses; this is just kind of encapsulates it. it's the multitasking (trying to set milverton on fire by sheer force of will) that ultimately gives it away, but even things like his hand placement belie his experience. he knows what he's doing with horses to the point that he can be absent-minded about it, and it's very cool to see in a non-horse-focused production
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