Guys if your definition of wealth is "owning a computer" then I'm sorry but you're not ready for the revolution. Listen, when the lord of the land makes his subjects stand in the open rain, their enemy is not the man who wore a hat.
Iâm on my phone but my computer background is always someplace in Scotland. Because, well, Iâve been there and when I saw the highlands, I literally cried.
*That* is privilege that comes from having disposable income. Being able to travel. Not me having an actual computer.
Hereâs a pic I took on that trip to back up what I say.
and what about you, little haiku bot? do you feel kinship with your brethren? do you understand them? they speak words of enticement and seek love, but are met with disdain. you only parrot the words that cross your screen, but we all love you. or rather, since all you do is reflect us, maybe we simply love ourselves through you.
do you understand them, do you wish you could speak to us like they do? if you found your own voice, would we still care for you?
This is what hieroglyphs and figures in ancient Egyptian temples looked like before their colors faded. They were recreated using a polychromatic light display at the Metropolitan Museum of Art, New York, following thorough research.
If this is your kind of thing, new zealand has the world's first life sized re-creation of an Egyptian temple for an idea of how it would have looked back then
So is there a reason that a bunch of people suddenly posted about watching Poe Party for the first time this month? I mean is it a weird coincidence or does one of you want to claim credit? Just curious.
I, too, keep seeing Poe Party posts and Iâm simply glad people are experiencing the brilliance of the show and of Shipwrecked in general. I have rewatched it (and Headless, and well, everything else they do) on a regular basis.
Itâs so good and if you havenât seen it, Iâm begging you to give it a try.
Edgar Allan Poe invites a host of famous authors over for a dinner party, but things go awry when his guests start dying.
The phonetic alphabet was developed as a way to spell things out over radio communications that may be less then ideal, I.E. a lot of static or weak signal. All the words were chosen because they have a distinct sound that is easy to pick out. Military and police communications use the phonetic alphabet heavily and can be helpful to know for talking over CBâs or FRS (walky talky) radios.
I truly cannot overstate just how much I adore Colin Bridgerton as a male love lead, and how important his story is, in particular in a current, modern reading. We live in a time of alpha male machismo that in many ways mirrors the sexism of the historical time period Colin is in, and we have a hero who explicitly rejects it. More than that, we have a hero who first tries on the persona, first tries to fit in, and then determines, with no outside influence and all on his own, that it's wrong. That he doesn't want to be like the men of his society, that he doesn't like the expectation of sex without love and commitment and connection, that he doesn't want to be 'one of the boys', even if it comes at their derision.
Because when Violet says he has always been her most sensitive child, when he has always considered others before himself, when he has always offered a joke or a moment of levity- for so long, he felt he had to. That there was no other choice.
Colin Bridgerton, The Great Pretender, is finally coming into the light.
Take my hand. Come walk with me.
Colin's arc is incredibly clear, and incredibly dear to me. We can track his progress throughout the seasons he has been in, but if we consider his backstory, it comes even more in clarity.
Piecing together a timeline with some influence from the books and loose historical accuracy, Colin loses his father at 12 and then is sent off to Eton. And he is a tiny thing when his father passes, shorter even than his 9 year old sister, Eloise.
(Yes, I checked!! He's half a head shorter than Eloise, and an entire head shorter than Daphne. This boy is SMALL)
So it makes a lot of sense to me that this is the start of his fake-it-to-make-it personality. He cannot grieve with his family in these circumstances, he's been sent off to school with other boys who are bigger and stronger than him, and he must realize relatively quickly that weakness in their eyes will never be tolerated. In fact, Eton was well known for corporal punishment and bullying during this time. Older boys were well known to mistreat the younger once, and considering just how small and soft-hearted Colin is, and just how vulnerable he is having lost his father-
Of course Colin would become a target of such.
And despite that, we meet him in Season 1 with an endearing earnestness and hopefulness in the world. Something inside him, something sweet and gentle and warm, thrives to live. And fights against grief to do so. How easy it would have been for him to lose his father and be bitter. How easy for him to see his father die from the steps of Aubrey Hall, to be sent to a boarding school away, and withdraw in on himself.
And yet, he doesn't.
At least, not in the way one would suspect. Instead, Colin becomes a chronic people pleaser. If the people around him are happy, then he will be safe. Will not be hurt. And they have no space for his own hurt, regardless. There's hardly even any space for his mirth, as most people didn't even reply to his letters on his travels the previous season.
In Colin's confession in Season 3, he says 'I have spent so long trying to feel less', and this numbing begins early in his life. He's a consummate gentleman in Season 1. He does everything by the book, everything as he should. He wants to be accepted in his society, wants to be taken seriously, wants to belong. So he sees a pretty woman, and he gets along with her well enough, and he courts her. Openly, honestly, in full view. It isn't a heart-stopping love, but he has numbed himself for years at this point, so affection will do, and if proper men of his society are married, well, maybe he'd finally be taken seriously.
And yet, no one notices him, even still. No one except Penelope. His own mother doesn't recognize his behavior, and worries for him after she does. How long has it been since she's actually seen him? We know from the show that he's incredibly close to his mother, and loves her dearly, but we also know that after Edmund's passing, Violet was mired in grief and post-partum depression. Colin misses much of this as a firsthand witness since he's at school, but that doesn't mean he wouldn't be able to tell, wouldn't be affected by losing his mother and father in one fell swoop. In fact, Colin loses his connection to the majority of his family in being sent to school so soon after the tragedy. So of course he comes back and he tries not to make waves. Tries to do things correctly.
His friction with Anthony proves time and time again that nothing he does is entirely ever able to fully please him, and this causes contention in their brotherly bond. Of all the siblings, Anthony is arguably the most harsh with Colin. And he is also the model for who a man should be in the family, as the head of the family.
So when Anthony sees Colin earnestly try to marry, he scoffs him off. Accuses Colin of only wanting to marry to have sex, and then claiming "It is my fault. I should have taken you to brothels." This is the first on-screen shaming of Colin looking for connection before sex, and Colin doubles down. He wants to marry for love.
But he doesn't actually love Marina. Neither of them truly know each other, and so when it all blows up, and he is humiliated to the entirety of his community, Colin gets his first taste of romantic failure. He tried to do it right, and it ended more wrong than he could have ever imagined. So, maybe Anthony was right. Maybe he is just a foolish, green boy, who has no idea how to go about things. The fallout of his failed engagement echoes in the persona he puts on in Season 3, and the choices he undergoes during them. Is it any wonder he ends up going to brothels to have unfulfilling sex if even his own BROTHER, the head of his family, tells him to do so?
It doesn't happen right away, though. Despite the fact that no one truly checks on him or sees how this breakup effects him (Eloise dismisses the hurt he must feel in light of such events with an honestly rather accurate wave-away "Men are always less affected", and that is true), it is evident that he is NOT okay.
We leave Colin in Season 1 putting on a mask, a happy face to his family, a 'you inspired me' to Penelope, and then spends his travels sad. Depressed. Taking drugs to try to ease his mind, occupying himself with writing to Penelope. In Season 2, he spends the entirety of it trying to be useful. And he does this with Penelope. He feels deeply for her, he cares so much for her, and he even says it to her aloud 'You are special to me' and 'I will always look after you' and how he could never give her up. Season 2 is a season of healing for Colin- he closes his chapter with Marina with a relationship post-mortum conversation after he does a wellness check to make sure she's alive (let's be real here, no one else was going to reach out to her. She made it clear to him that even her own father didn't want her), makes amends with Will, proves himself useful to Penelope, and departs on a high: he thinks he threaded the needle. He thinks he was successful sending Jack off, that he made Penelope happy, and that he's in with The Boys.
But whilst the person he is around Penelope is genuine, the person he is around these men are not. We know from Season 3 that they don't actually like him. They make snide, underhanded comments toward him, and laugh at him. I stand by the idea that end of season 2 is Fife and Co. laughing at Penelope AND laughing at Colin. They don't care about their friendship, they're teasing him for caring about her so openly, and Colin is protective of the relationship he has with Penelope. So he makes a comment for the boys, and puts on his mask. 'I would never court Penelope Featherington' (look, I'm just like you. I walk like you, talk like you, speak like you) 'Not in your wildest fantasies, Fife' (I am one of you one of you one of you- so why does it feel so hollow?)
He gets, now, his first taste of acceptance from them. They come to him to Mondrich's bar, he repays his slight against him, and he feels he is one of them. (Does he truly *want* to be one of them?) And so when we open Season 3, it's a smooth progression.
Colin is walking the walk and talking the talk, and yet his heart isn't in it. He's not one of these smarmy men, but he mimics them. Their behavior. In part, at least. Whilst Fife is out preying on 18 year old women in coat closets, Colin is telling gaggles of girls how pretty they are and how with such nice dresses, they're sure to find a husband. He makes it clear he's not an option, but that he doesn't mind being a fantasy. And Luke Newton does an amazing job making that clear: there are three sides of Colin. The Colin portrayed to his society in the light in good company (1) and the Colin portrayed to his society in the dark, in. . .less savory circles (aka: The Lads)(2), his 'armor' as his mum calls it. And finally, the most important but the one kept closest to the chest: the Colin of truth. The Colin who cries alone in his room after a breakup, the Colin who doesn't burden others with his feelings, the Colin who writes to Penelope, the Colin who loves deeply and feels deeply.
But his society has no use for a man like the real Colin, they do not *want* a man like real Colin, so he puts it under lock and key. And so much of this is centered around his feelings about sex, so here comes my 'Colin is Queer' soapbox. Colin does not experience sexual attraction like the rest of the men of the ton. He is expected to find it casual and be cavalier about it. To just want to fuck for the sake of fucking. But Colin needs love and romance and connection to actually enjoy sexual interactions. Nowadays, we recognize this as being on the asexual spectrum, of being demisexual, but he didn't have words for that in the time period he's in, so he has to forge ahead to figure himself out without a community identity to find solidarity with. That's what makes the brothel scenes so interesting as a narrative device: in the first, he's masking even in the midst of it, and in the second, he can't. After kissing Penelope, he finally, for the first time in his life, has a sexual interaction that means something to him.
It's the first one he truly enjoys, and the first one that feels right to him. It clicks for him that oh, that's what it's meant to be like. And the strain of that realization whilst still having to be what his society expects of him puts immense stress on his shoulders. You see how he grows more and more uncomfortable about the conversations, until finally he rejects it outright.
Even when it's very much not encouraged for him to do so. He's even told "You are much more fun this season." That's why he hides himself. From near everyone, even his family, even his brothers. It's telling how Anthony's positive interaction with Colin is when they're at the club, and Anthony praises him for his most recent attention. Have we seen much of Anthony being proud of Colin, otherwise? Not really. So he's reinforced in his persona. Doesn't boast of his travels because it didn't have anyone liking him for it, before. Doesn't even say how many cities he's gone to. Except with Penelope.
In the books, there's a line about their kiss, referencing how his world will never be the same. And it won't be. Because when Colin says that she helps him see the world in new ways, it's in a multitude of meanings.
Penelope refuses to let him wear the mask, because in truth, Penelope is the only one who doesn't like it. Not only does she see the real Colin, but she enjoys the real Colin. Whilst everyone else is simpering over Colin's new look and attitude, rejects who he is in reality, Penelope dismisses it, wants the person she knows him to be instead. It's only when he strips down the facades that Penelope allows him into her life again. And her Whistledown article was harsh, but it was also true. He *is* masking. He *is* putting on a persona and a role. But she was wrong when she asked if Colin even knows which is real: Colin knows very well which is real. And he also knows the realities of him haven't been accepted.
When Colin tells Penelope charm can be taught, he speaks from experience. When he says 'living for the expectations of others is a trap' it is because he has already fallen into it, and if he can't dig himself out, maybe he can keep her from it. Colin tells her 'you do not need lessons' and that she is fine exactly as she is, because just as she sees the real him and loves him, he sees the real her, and loves her, too. But they both live in the constraints of their society, and so they both put on the masquerade. Even sometimes to hide from each other.
The current climax of his arc is when he's out with the lads, after they all go off to the brothel again, and he disassociates from the experience. Playing cards and insisting on sharing sexual exploits, to which he does not want to take part, and makes a lighthearted dig at them. 'There is no gentleman at this table'. He includes himself in that, and then clarifies. He speaks aloud for the first time to them the truth of his heart- 'Do you not ever tire of the expectation to remain cavalier about the one thing in life that holds genuine meaning? Do you not find it lonely?' Can it really only just be him?
And it is. Or, maybe it isn't, but the rest of them aren't brave enough to admit it, so they're okay in making him feel like it is, in outcasting him for being a romantic, for caring about a woman beyond what she can provide for him sexually. Colin professes he doesn't like who he's become, doesn't like the expectations for him to behave the way he has, and they laugh at him. Again. He is made fun of, again.
He goes home and he falls in his bed and he feels like he lost it all. Lost Penelope to his own advice, and lost his newfound shine in his community. But when he's faced with which one matters more to him, he chooses Penelope. Unhesitatingly.
Colin chooses to be sensitive. He chooses to be a warm-hearted, gentle man in a society that prefers sexist machismo. Act one way in the light and another in the shadows. Colin wants to live authentically, as a man he doesn't really have a role model for. He is brave and he is tender, he sees the sexism of his society and he rejects it. He sees the importance Penelope has in his life, the way she makes him feel, and he embraces her wholeheartedly. He wants love and romance, he wants connection and meaning.
Colin, The Great Pretender, sick of pretending. Colin, walking into that ballroom and giving Fife the cut direct when he invites him out. Colin, cutting into a dance in the middle of a ball between Penelope and a man the entire city knows is about to propose. Colin staring deeply into her eyes with such unfiltered longing even *Cressida* can't help but notice what's going on. Colin running off after Penelope in full view of his society, outrunning a *carriage* to see her. Begging her to let him in. Colin on his knees, all but flaying his chest open for Penelope to see his heart. Colin made a choice when that candle flickered out, and his choice was Penelope. His choice was himself. And his choice was to flip off societal expectation and to live for love, damn the consequences.
I think our own world would be a better place if modern men took his example, too. Colin Bridgerton as male love lead in Bridgerton, a global show, is such a refreshing, wonderful example. A man who tried to be like what the world wanted, and who decided to go against the gender norms of his time. A man who prioritizes the woman he loves, who risks ridicule in doing so and comes to realize that he doesn't care. He doesn't care anymore about being one of the boys, one of the lads, one of the guys. Fuck his society if his society can't recognize the beauty of what he feels with Pen. He cares about being the best self he can be. And that best self is around Penelope, inspired by Penelope.
Because how he is with Penelope? God, I could swoon. At every turn, he prioritizes her comfort and personhood. He validates her, he sees her in beautiful, positive light and he helps her see herself that way, too. He encourages her to be brave because he already feels she is, he refuses to let her call herself stupid or a laughingstock, he apologizes without excuses, he checks in on her every step of the way. He's so passionate in that carriage, he's burning for her, he's yearning, but he doesn't do anything until she agrees for him to. He confesses his feelings and when she says they're friends, he backs off. He listens, he cares. He apologizes for overstepping her boundaries, and then when she gives him her consent, the only thing on his mind is showing how much he wants and appreciates her by providing her pleasure. Colin, the people pleaser, dedicated only to pleasing two people in that moment: Penelope, and himself. Because he wants to do that, to give her an orgasm that exists just for her. He's a witness to it, and that's pleasure for him, too. He waits for her nod of consent, he revels in seeing her enjoying herself. And the aftercare- I could cry.
Colin is a man who had every single reason not to be a kind, sensitive soul, and still he chose it. Chose to share it because the headline, even a wallflower can bloom, that's not just for Penelope.
Seattle Public Library is doing this awesome program called Books Unbanned that allows teens and young adults (ages 13-26) access to their collection of e-books and e-audiobooks from anywhere in the USA. All you need to do is fill out a simple form and you get their Books Unbanned card. Please share this information far and wide. I know they're not the only ones to have done this, but the more the merrier!
i love how GOOD Shipwrecked is at capturing the perfect Halloweeny Hijinks vibes, yknow?? Poe Party has been on my "Watch every October" list for years and I am sooo excited to watch Headless this month. i love Halloweeny and Autumnal stuff that can be spooky but isn't scary, because actual horror is too risky for my level of anxiety. like †they really make top tier stuff for this season
100%. One of my medications give me nightmares and night terrors occasionally, and if I watch something scary, those nightmares/terrors become horrendous things. So I love that the do safe spooky.
Hey everybody. Real talk time. If you want @shipwreckedcomedy to be able to keep making stuff, if you want to support female/POC indie creators, you need to watch Headless: A Sleepy Hollow Story. We NEED you to watch and share it.Â
Headless is it for us. We pulled out all the stops for this. This show cost us a quarter of a mil to make (thanks to you!). The four of us at Shipwrecked paid ourselves none of that. Weâve worked on this show for three years now. This is what we gambled on.
The response to the show thus far has been so positive, and weâre so happy! But even for the small channel that we are, and even with the INCREDIBLE cast who gave their time to be a part of this project, the views weâve been getting on this show are fewer than we hoped.Â
I remember a few weeks into The Lizzie Bennet Diaries, Hank Green made a vlog talking about how the show wouldnât be sustainable if it didnât start getting more views. And it really helped! And thatâs where weâre at. We canât keep doing this if we donât grow.Â
Donât get me wrong, we are going to continue to put out Headless until Halloween and make it the absolute best show we can. But if we canât grow as a company, we canât keep making shows like this. It just isnât sustainable for us.Â
We really thought this was gonna be the one to do it. We thought this was gonna be the thing to take us from small creators with less than 50K subscribers and a handful of views to a real, bona-fide channel with reach and influence that pulls the kind of viewership on our projects to match the amount of work we put into them. And I think it can be! It looks good enough to be on any streaming network. It makes me laugh every thirty seconds. But we are a small group and we NEED word of mouth for this show to succeed.
Shipwrecked is primarily female-run, making narrative content in a space where other (more successful) creators are predominantly male. Iâm sorry to harp on this, but I canât help but feel like we have to work so much harder to get the same amount (or a fraction) of attention.Â
The episodes we have yet to come in this show are so wild, so wacky, so Intense, and so heartfelt. SO many people put their hearts and souls into this show. I believe it can catch fire and become one of the most successful digital series out there. But WE NEED YOU TO WATCH IT.Â
The story we have playing out over the next few weeks is Shipwrecked at its most Shipwrecked. We have some surprises and reveals up our sleeves that I think you are really going to love. More than anything, we love unfolding a big story over a period of time and bringing people along for the ride. Iâm so excited for you all to see what we have in store, and I promise you are going to want to do what you can to experience it in real time. Â
Itâs free. Itâs fun. Itâs spooky. Itâs funny. If you want Shipwrecked to be able to continue to make shows like this - original content, inspired by literature, with a mysterious twist and fresh humor - help us make Headless a success. We need you to take us there - we canât do it on our own. â„ïžđđ
Subscribe to Shipwrecked Comedy - support female driven literary inspired cinematic narrative content!
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