#robert dashwood | Explore Tumblr Posts and Blogs

forensicated · 5 days

Text

03x02 - Some You Win, Some You Lose

Ted is keeping an obbo on a building suspected of being used as a drugs den. Of course, he's eating while doing so; he wouldn't be Ted if he wasn't ❤ Roy calls in for an update and Ted feeds back to the waiting officers in CID, CAD, the canteen, a nearby bus and CID car that all seems quiet in the surrounding area. A motorcycle approaches as TSG start to head over but Ted tells them he thinks it's just a man picking up his girlfriend. "I wouldn't touch her, not even with Dashwood's." Dashers laughs. "Thanks Ted."

First appearances of PC Dinesh Patel and PC Ken Melvin as well as it being the first credited appearance of PC Tony Stamp.

Terry, Mike's snout gets in the back of his car and reports that yes, a major delivery is about to go down at the den that night. He's not happy about Jim being involved, however. He tells Mike that, if tonight's operation goes to plan, their main target, Bishop, will likely ring him in the morning to tell him that he wasn't able to collect. Terry will put the squeeze on to try and get details from him to find the main factory creating the drugs. He'll ring Mike at about 10am. "I'm not sure I know what all this is about," admits Jim. "It's best only a few of us know." Mike reasons.

Reg sulks that he's not been told anything about 'a secret operation' "Perhaps no one wants you to know." Bob reasons. "I'm the collater, I ought to know!"

The estate Sun Hill are targeting the supply has been like a no-go area for the police for months with concrete dropped on patrol cars and offers threatened and spat at. Hopefully, this is the start of it getting cleared up.

Bob is fed up of being stuck inside in the new CAD room learning the systems and wants to be out on the streets. Brian reassures him it will mean a better and more streamlined response for the public ones everything is implemented. "More efficient bureaucracy you mean, we're losing touch with people." "You're not changing with the times, Bob. That's part of your trouble." Kite adds.

Under cover of darkness, Sun Hill raids the drug den with Mike crowing that it's going to lead to the nicks biggest result. Jim is adamant that he recognises Terry's face, he just doesn't know where from. Mike tells him that if he tells Jim he doesn't recognise Terry, he doesn't recognise Terry.

Roy and Alec find a massive amount of drugs hidden with the piping of the building but CID!Extra shouts Roy to tell him there's a problem. The suspects are kicking off and the police are struggling to keep control. Roy shouts at Melvin to pull back and radios for back up. "Are there any tension indicators?" Brownlow asks through the radio. "... Tension indicators?" Roy repeats sarcastically. "They're throwing petrol bombs at us!"

Ted and the other backup charge in with Ted almost getting burnt alive with a petrol bomb and a PC obtaining a head wound whilst another gets knocked out cold after having concrete thrown at him. Cars are getting overturned and set alight and the rioters are using anything they can get their hands on as weapons.

Jim is amazed at what is happening as they drive around with Mike asking what he expected once addicts' supplies were threatened. They spot their main target, Bishop's Range Rover. The building itself is starting to be targeted in the hope of burning drugs before the police find them as chaos reigns. "We're rather busy at the moment, 3-0..." Roy replies when Mike keeps asking if he's receiving his messages. Jim watches Bishop return to his car and tells Mike he doesn't look like a dealer. "What did you expect? A sandwich board with 'stop me and buy some'? I wonder how he feels having just lost half a million quids worth of crack." "... Choked?"

TSG starts to push the crowd back which in turn lets Alec, Roy and CID!Extra leave with what they've found so far whilst the other officers fight to regain control.

The next morning, Bob enters CAD to find Tom, Nick and Reg ringing round police stations to find stations with enough room in their cells to take some of their prisoners. They anticipated 20 arrests and ended up with 40.

In the Collators Room, Jim goes through a load of identity cards until he comes across the one he wants with 'Terry's' details on. Upstairs Charles tells Roy he's impressed with the information from Mike's snout. Roy tells him that raid was just a den to stash the gear. The factory is a different kettle of fish and he wants to speak to him. Charles tells him that's not a good idea and it should stick to just Mike as Mike has his confidence. Mike tells Roy that his snout was suss of Jim so anyone else would tip him over and cause him to not give them more information. Little do they know that Jim is threatening that by contacting the collator at West End Nick. He's found out that Terry is really 'Dougie Gardener'

Jim goes to CID to try to tell Ted what he's found out. Ted is too busy dealing with suspects and tells him 'later!'. Mike waits in Roy's office for Terry's call, having given him Roy's direct line to save problems. He gets a meeting set up for 10 minutes time with Roy making him take Jim.

Ken worries that he's lost a prisoner as a result of being told to pull back by Roy. He has to stay in the station on standby just in case and isn't allowed to leave, even for half an hour to try to locate the man.

Roy asks Ted if he's aware of any of Mike's snouts, particularly Scottish - perhaps Glaswegian. Irish Ted shrugs. "They all sound the same to me."

A grumpy Jim and his little Russian Hat come out to meet Mike to head over to visit 'Terry'. "Are you throwing a moody?" Mike sighs.

At the same time, Dinesh and Bob set up a stolen property viewing area in the rec room for people to try and reclaim what they've had stolen. Dinesh laments the lack of postcodes on items to help them trace the owners.

Thankfully for Ken, he doesn't have to worry about going out to find his prisoner. He reports to the station, still with his hands cuffed behind his back.

June comforts the young girl as she starts to violently shake through withdrawal after they've gotten her to the FME's room, needle marks up her arm. Viv on the other hand has no sympathy whatsoever.

Jim finally tells Mike that he knows who his informant is. Mike starts to give him a speech and Jim snaps that loyalty cuts both ways. Jim claims that he's misled everyone including the Chief Superintendent. So far Gardner has gotten them half a million of crack cocaine and Mike thinks it's a good enough result for the risk. Jim tells him that he's a murderer and that in covering up who it's from and claiming he's called Terry Watts, he could end up losing his job.

Brownlow asks Kite and Tom to make an official report on the raid and how difficult it was to police. He keeps talking over Brian who repeats himself until he's able to finish. Brian is concerned how long they're keeping the suspects before they're charged. Brownlow says they're well within the times but Kite insists he doesn't see the justification to keep people who will just go on to be released. Tom is asked for his view and explains some may be charged with serious offenses and they all need interviewing before they can be released. Brownlow thanks him and dismisses him before telling Brian to mind his own business and let the Custody Officer deal with Custody. He tries to school Brownlow over PACE. Brownlow tells him he's well aware and doesn't need him pushing his own interpretation onto the ranks. "This is a matter I feel strongly about. To deprive a man of his liberty is a serious matter." Brownlow reminds him it's his station and they deal with practicalities at Sun Hill, they do not treat things like an idealistic operation from Hendon.

A vicar 'browses' the stolen property, claiming he's simply curious about what people 'mislay'. Bob explains they have a husband and wife burglar team in custody and that this property was found in their garden shed when their home was searched.

A man focuses on an expensive snuff box and, when asked by Dinesh what he's lost, tells him he's there about a silver teapot. Dinesh tells him they have three and to wait there and he'll go and get them. When he returns, the man has gone as has the cigarette case. Alec sulks that he can't get a game of snooker in!

Mike's snout appears later than agreed. He presses Mike for a bigger payment because it's more risky than he'd realised. Mike is unsure but it turns to a definite no when the snout wants paying in half kilo of drugs, claiming no one would ever know. "It depends." "On what." "How much you value your freedom." Mike tells him things stick how they are or he'll nick him and that he has a witness - pointing to Jim - who will swear anything he asks him to. The snout is incensed, telling him they could have done a lot more work together but now this is the last job he'd give Mike. Mike presses for the address.

In the yard, Brownlow briefs the troops by saying he knows they've been on duty all night (this must be approx half 10/11am now) but they're onto the final stage - closing the drugs factory - and it's imperative they stick to the same officers so there can be no leaks of information.

Roy tells them their target is a drug baron with international links to very important people. The factory is located in a squat inside the old council premises.

Dinesh reports to Reg about the man missing man with Reg not having seen him. Bob earns himself a kiss from a woman who is overjoyed to be reunited with a silver tray. She asks about the snuff box which means Dinesh has to come clean to Bob.

There are approximately 10 squatters at the premises that Mike's snout said is the drugs factory and they'll likely have a lookout so the element of surprise is a nonstarter and they'll be going in blind as they don't have enough time to obtain plans.

Sun Hill arrive at the location to hear music pouring from the squat. They send a PC Extra out to try and obtain an answer but no one answers the door. Jim does some rather impressive acrobats to scale a window with bars on and then up onto the roof and then in via a window! (the last one is fun to watch on a loop)

They're spotted by a young girl as the officers break inside. They've been fed duff information. It definitely is not a drug factory - it's just a squat where some young people live!

The old lady who is the real owner of the snuff box is very lovely about it being stolen from the station. Bob tells her to write to the commissioner for compensation and he apologises profusely. "Oh dear, I won't get you into trouble will I?" she smiles.

"Why would he have me over?" Mike fumes about his snout. Why do these officers never learn not to fuck off a snout right before a massive deal? We all know you can't pay him in drugs, but you don't need to tell him that upfront when he knows the address of a drug factory! Mike got the reg of Bishop's car so they circulate it in the hope of being able to trace it to the real drugs factory. Roy has to report back to the Superintendent for a briefing and he orders Jim and Mike to attend as well.

Bob is not best pleased when he reaches custody. Tom asks him what's wrong and he explains that about £4K of snuff box has gone walkies from the station. Both Sgt's burst out into peals of laughter.

Charles isn't as upset about losing the drugs factory as you'd think given the haul from the night before. He authorises CID to have 4 hours of overtime. In Roy's office, he tells Ted and Mike that something smells about the operation. He dials a number and tells Mike to speak to his informant. Mike nervously asks for Terry Watts when a woman answers before Roy snatches the phone from him and asks for Dougie Gardner. The woman asks who is speaking and then claims that she doesn't know any Dougie Gardner, hanging up.

Mike thinks that Jim informed Roy but Roy explains he knows only 6 'jocks' in London who could have knowledge on that scale and someone from Sun Hill has already been making inquiries about one which really narrowed it down. Mike says it was his job, his informant and he didn't want to share the glory. Roy says he knows how to deal with people like Gardner, unlike Mike, and would have had the job sewn up by now. "Villians like Gardner to not sell people like Bishop down the river unless it's for a good reason and that reason would not be a few quid from the informant's fund. Before they can continue, Jim bursts in with a report on Bishop's car. "With some luck we might be able to save this job but, Mike, don't you ever do that to me again!

CID sit in the back of a van, keeping eyes on the car. Underneath Jim is poised for action. Alec and Yorkie are slumped in the front seats of a car watching, neither expecting Bishop to turn up.

Viv and June are told by Tom that the girl they brought in has AIDS. June feels sorry for her but Viv says she's going for a shower and they can stick procedure. June agrees and follows her through. Tom offers to lend a hand lathering up.

"No chance." "Just thought I'd ask, that's all!"

A low loader breakdown wagon approaches Bishop's car before starting to load it onto the back. Ted reports it to Roy and Mike checks the reg of the lowloader. Roy reminds everyone to stay still until they get confirmation on the wagon. It's a legitimate garage. Roy follows it to the garage who tells him that the owner rang in and said he'd broken down and asked him to collect it.

"When was the last time you had a bath, Ted....?" Mike muses, trapped in a car with him. Ted pauses, frowns and starts to sniff himself. The name given to the garage was McCloud. Roy just scoffs and walks off, knowing it was Gardner who rang it in.

A council official rages at Kite for not consulting him before making the raids on public property - namely the former council offices. There'd been no hurry to evict the squatters but he has been in negotiation to sell the land to developers. With the squatters in place, he would have had to obtain a court order to get the bailiffs in and squatters out. Expensive and would take a lot of time. Now it looks as though they could have been in collusion with the police to get them out. It's a dangerous structure and the floor collapsed into the basement so they had to have it bricked up. Brian's ears prick up. The officers hadn't searched a basement as they hadn't known about it.

Roy tells Alec to arrange for the car to be towed back to the nick and then they can book off and head home to sleep. Roy then heads over to Mike and Ted. Kite radios in about the basement and they speed back to the premises. As they get there, it's already being raided by the drugs squad! "You've been well and truly screwed, mate." Ted tells Mike. Bishop had 2 students knock up the drugs for a hundred pounds a week. Gardner took his information to the Drugs Squad to really piss Mike off. Roy tells him they robbed the job from Sun Hill who had done the grunt work. "It's all part of the game Roy, some you win. Some you lose." replies the Drug Squad DI.

2 notes · View notes

themalhambird · 1 year

Text

Thinking about how Jane Austen's six novels taken together (in writing order, not publication order) become an increasingly scathing criticism of social class, i.e:

Northanger Abbey: Individual members of the gentry (General Tilney, chiefly) come in for some criticism, but mostly on a personal level: General Tilney is a grasping, tyrannical father to be sure but we hear little (though we might easily infer) of what he is like as the resident landholder. The final crisis of the novel, General Tilney's refusal to sanction Henry and Catherine's marriage, is resolved by Eleanor's marriage to a Viscount.

Sense and Sensibility: The "correctness" and "elegance" of the fashionable members of society- the Dashwoods, Robert Ferras, Lady Middleton- are negatively contrasted to the warmness and frankness of Mrs Jennings- whose kind-heartedness makes her more attractive, in spite of her lower-class origins and perceived vulgarity, than Fanny, Lady Middleton or Mrs Ferras (snr).

Pride and Prejudice: The aristocratic Lady Catherine de Bourgh is an interfearing busy body whose title and money only excuse her officiousness and rudeness. Darcy's pride in his superior situation to the Bennets leads him to act wrongly with regard to Bingley and Jane. Aunt and Uncle Gardiner, in trade, are more respectable- certainly better parental figures- than the gentleman Mr Bennet (and Mrs Bennet too). At the same time - Darcy's strengths are displayed in his undertakings as the resident landholder of the Pemberly estates- he supports the poor, and his situation allows him to shield the more vulnerable when he his spurred to act (Georgiana, to a less successful extent Lydia). Wickham's circumstances - debt, etc- could easily be read as the consequences of his wanting to step out of his place- his desire to be the oldest, or at least the second, son of a Mr Darcy- rather than what he 'is'- the son of Mr. Darcy's steward

Mansfield Park: Hey. HEY. look at the shitshow of a baronetcy. Lady Bertram is functionally useless. Sir Thomas is such a bad father that his daughters marry idiots just to get away from him. Also, having money can't give you intelligence or a personality. Most of "fashionable society" are actually miserable and mercenary and also probably immoralistic. The Church is clouded by corruption and isn't actively benefiting the local parish the way it should. The whole thing is underpinned by slavery, and the hardworking Price Children are ultimatley more deserving than the flighty Bertram ones. THAT BEING SAID: the portrait of Mr. Price is hardly better than the one of Sir Thomas, and Mansfield Park does stabilise- indeed, begins grows stronger with the reformation of its heir, and the implication that Fanny and Edmund go on to have children of their own. There is less of a quarrel with establishment, and more of a quarrel with the people who fill it.

Emma: "Gentility is inherent one can sense it in a person-" no you can't lmao shut up. There is literally no inherent difference marking out a gentleman's daughter and a farmer's daughter. Emma's snobbery as to class leaves her, at various times, both isolated and into some *serious* missteps. Emma and Frank Churchill both have a tendency to treat others as playthings, as their money allows them to do so.

Persuasion: The peerage/nobility are patently ridiculous throw them out in favour of [relative] meritocracy and hard workers. Sure, the resident landowners are supposed to be of benefit to those beneath them but they're not, actually, they take all of the privileges and fulfil non of the responsibilities and are pretty much uniformly selfish and our heroine Casts Them Off.

#jane austen #class #its late okay i haven't neccessarily thought about it *thoroughly* but. y'know.#i thought #northanger abbey #sense and sensibility #pride and prejudice #mansfield park #emma #persuasion

506 notes · View notes

firawren · 4 months

Text

Austen siblings: the worst of the worst

Please vote based on their depiction in the books, not the movies. Other than that, use whatever criteria you want. Most toxic? Least well-suited to each other? Most well-suited to being awful together? Most annoying? Least realistic? Up to you!

These are in alphabetical order by last name, so read the whole list before voting!

I have a best Austen siblings poll too.

#yes the crawfords are on both the best and worst polls #and i expect will get votes on both #jane austen characters #jane austen #siblings #polls

77 notes · View notes

thatscarletflycatcher · 4 months

Text

Sense and Sensibility (2024, Hallmark) a review

I had expectations for this movie. They were not surpassed. It didn't perform below them either.

Spoilers under the cut.

So, this is a short movie (1.24hr long) a tv movie, a hallmark movie. You must keep that in mind as a frame of reference for what I'm about to say. You cannot really compare this with theatrical movies on equal footing.

Where to start. Costumes and sets. It is Bridgerton's world and we live in it. Everything is VERY colorful and shiny and not very real looking; that was to be expected. I think that sort of semi-fantasy aspect didn't hurt at all, and it was consistent. If you are not going to stick to the time period, at least go ham and show me something really interesting. I'm looking at you, Netflix Persuasion. There are some dresses that are pretty, and some others that... aren't. Considering that apparently the costume designer had to make something like 60 pieces in a month, it's kind of impressive that it came out as it did.

One funny bit, though, in this respect, is that they complain about how small the cottage is like some actual estate houses aren't the same size IRL XD Allenham we only get to see from afar, and it is rather disappointing.

Music: nothing to write home about, to be expected. Yes, we got one of those Vitamin String Quartet modern-song-played-by-strings. IDK. They were a bit dorky in their heyday, I don't know why they are so sought after in these pieces lately. I digress.

The acting. Deborah Ayorinde was a really good Elinor. She definitely deserved better writing and direction. The rest of the cast was good enough; I feel some roles really benefited from their characters being a bit hammy already in the source material (Lucy, Mrs Jennings, Anne, Fanny, Robert), others were really struggling because of being given very poor dialogue (Mrs Dashwood), and others were just... not good (Willoughby and Brandon, sadly). Edward was... a very special case. I can only describe it as the actor having two expressions: one, an attempt at reaching Hugh Grant's adorkableness AND Dan Stevens' ease at the same time, and two [SCREAMING INTERNALLY], but I guess those two were indeed enough to make it work just fine!

Which leads me to the writing. We all knew this adaptation was going to live or die in the writing, and most likely die.

The thing is that most of it is written around repeating 95' and 08's greatest hits, while attempting to compress the narrative into an hour and a half. And that goes as well as you can expect it to. Some scenes are painfully rushed -Brandon's backstory was extremely awkward to get through- some things are over before you have any time to assess their real weight -Marianne's illness, and many others end up being... incongruous.

Let me stop a little on those. The movie keeps Margaret, and gives her the whole play acting as a pirate with Edward from 95', but then removes the only real plot relevant thing she does in the book. So why keep the character at all? (Willoughby asks for Marianne's handkerchief in exchange for Queen Maab, instead of cutting a lock of her hair).

Because 2008 makes Brandon suspicious of Willoughby from the get go, this one makes it so that they know each other and implies that Brandon knows dirt on Willoughby, but then plays the rest of the story straight, which makes it... pretty inconsistent.

Speaking of Brandon, we have reached adaptation #5 that cuts out the fact that he tried to elope with Eliza sr. This time the backstory is that his father promised to let him marry Eliza if he proved himself as a soldier, but when he came back, he found his father has kicked her out of the house. Yeah, that was utter nonsense.

The adaptation makes a clumsy attempt at including the dinner at Mrs Ferrars... but Brandon isn't there to see Marianne defend Elinor.

We needed to have a "Brandon rescues Marianne in the rain" scene, but in this case, she's not faint or anything, he just grabs her because she's sad XD

And the list goes on and on and on. It was to be expected that the shadow of both 95 and 08 would be large over this one, but it truly is to the point that the references and contrivances are almost constant. Which is a pity because I think most of the original choices were interesting.

For example, Marianne twists her ankle running after Margaret, to try and stop her from asking something embarrassing, which is a good choice in terms of showing that Marianne is passionate, but she has more sense than Margaret.

On his deathbed, Mr Dashwood makes Elinor promise that she will take care of her mom and sisters and keep the family together. That added pressure on Elinor works really well in the context of the adaptation, and ads a new layer of interest.

John Dashwood is written mostly as a hapless but not malicious idiot. This is similar to what From Prada to Nada did (though there it made more sense because of the father having two families simultaneously), but I'm not sure where was that going. They did cut the Palmers, so I suppose the choice was so that they could go to Norland instead on their way to Barton (it is never established that Norland is so far away as it is in the book, so I guess one could give it a pass), but in that case, I feel the most cost effective shortcut is... have them go to Barton? Because we do get to see Barton (Marianne goes alone with Brandon to see it close to the end, and they get engaged before Edward returns, don't think much about it, manners and such are... for this movie... loose guidelines. But it isn't super offensive most of the time).

Anne Steele is decent fun as she's supposed to be, but Lucy really suffers the flattening. The mastermind has been flanderized into just a mean girl, and that's a pity.

Oh, Edward is sassy at times! And the sassy jokes land! I have to say it is not my preferred way of doing the character, but he does show some sass at the end of the novel, so, you know, I'll allow it I suppose XD

Edward's return and proposal started pretty good, but it overstayed its welcome. I cannot emphasize enough that, when writing this kind of proposal, you must avoid the word love if you can, and if you must use it, use it once, and with great reluctance.

The movie chooses to dedicate quite a time to the reveal of Edward and Lucy's relationship, and it's honestly... decent? For a scene made out of whole cloth it stands on its own feet reasonably well. But there's no Fanny freakout. This is probably the most shocking plot twist in the adaptation. This very on-the-nose Hallmark adaptation decided to cut the Fanny freakout of all things. Impressive restraint.

One thing, however, that was sadly cut out was Elinor and Marianne's conversation about Willoughby at Barton. It is instead replaced by an unsubtle comparison between Willoughby and Edward, and an exchange between Brandon and Marianne. It is one of the several points where the storytelling relies on previous knowledge of the work.

These are my main, disordered thoughts. I leave you with this choice from the ending, that I cannot form a thought about:

At Elinor and Edward's wedding, on the first pew are in attendance, from center to side: Mrs Dashwood, Margaret, Marianne, colonel Brandon... and Eliza Williams with her baby in her arms.

As a summary, I'd say Elinor and Edward's story was good enough, the relationship between the sisters was sweet, there were some odd choices, some interesting choices, and overall the writing was severely downgraded by attempting so much to stick to the choices of previous famous adaptations.

#Jane Austen #Sense and Sensibility #Sense and Sensibility Hallmark #Sense and Sensibility 2024

46 notes · View notes

itsfarrah · 2 months

Text

|Chapter 5|

As the first blush of dawn tinged the sky, Farrah awoke, her spirits buoyed by the remnants of a whimsical dream featuring the Dashwoods at Sir John Middleton’s party. In her slumber, she had seen them engaged in a merry, if somewhat absurd, dance involving three-legged races and copious amounts of laughter. The incongruity of the vision brought a smile to her face as she sat up in bed, the sheets pooling around her.

She moved to her vanity, the morning light casting gentle illuminations across the room, and began to brush her hair. Her thoughts, unbidden, wandered to the forthcoming party, and the notion of a gentleman seeking her company caused her cheeks to bloom with color. She quickly dismissed these fancies with a shake of her head, laughing softly at her own silliness.

Her musings were abruptly interrupted as Margaret burst through the door, brimming with excitement. “Farrah, make haste! Breakfast awaits, and we mustn't tarry if we are to ready ourselves for the party!” Grabbing Farrah’s hand, Margaret pulled her toward the dining room where the scent of a warm meal filled the air.

At the breakfast table, Marianne and Mrs. Dashwood were already deep in conversation about the evening’s prospects, their voices a blend of excitement and eager anticipation. Elinor, ever the practical sister, was at the stove, flipping what appeared to be pancakes. She looked over her shoulder, her eyes twinkling as she teased Marianne and their mother, “Perhaps today we shall finally see our dear Marianne swept off her feet!”

The table burst into laughter, the joyous sound mingling with the clink of cutlery and dishes. As they ate, the conversation naturally drifted back to the party, each sharing their hopes and slight anxieties about the evening.

After breakfast, Farrah excused herself to prepare for the party. She took a leisurely bath, allowing the warmth to soothe her nerves. Once dried and dressed, she stood before the mirror. The gown she chose was reminiscent of the one worn by Pauline Bonaparte in the painting by Robert Lefèvre—elegant and striking with hues of blue, white, and gold, its design subtly challenging the typical English fashion with a dash of American boldness.

Her hair was styled in a loose bun with curls softly framing her face, enhancing her natural beauty without ostentation. A light touch of makeup and a pair of matching silk gloves completed her ensemble. She descended the stairs, her gown whispering against the steps.

The Dashwood family ceased their chatter, momentarily struck by Farrah’s appearance. Regaining their composure, they showered her with compliments, to which Farrah responded with modest demurs, deflecting the praise back onto them.Observing the faint blush coloring Farrah's cheeks, Mrs. Dashwood briskly gathered us all and ushered us into the carriage.

As the carriage wheels crunched the gravel beneath them, the conversation inside turned, at the behest of Mrs. Dashwood, to Colonel Brandon, the very mention of whom seemed to carry a certain weight of respect and intrigue.

“He is quite a sight, you know,” Marianne began, her eyes alight with the vividness of her description. “Tall, with an air of quiet strength, and his countenance—oh, it speaks of depth and the kind of handsome maturity one reads about in novels.”

“Not to mention his intellect and his admirable service in the army,” Elinor added, her tone reflecting both admiration and a hint of melancholy for the man’s past trials. “He has just returned from a strenuous deployment in the West Indies and Australia. It must have been quite taxing.”

Mrs. Dashwood nodded, her expression turning somber as she delved deeper into his history. “Poor soul, he has indeed been unlucky in love. Years ago, he was quite taken with a young woman named Eliza, a beauty of gentle disposition whom he intended to marry. But alas, fate was not kind. She was compelled to wed Colonel Brandon’s elder brother, a match of convenience that broke more than one heart.”

Marianne sighed, her romantic sensibilities clearly piqued. “And after his brother passed away, Eliza left him, vanishing from his life forever. One cannot help but feel for him; such misfortune in love is a cruel burden.”

“The poor man,” Elinor murmured, shaking her head. “It seems unjust that someone so deserving of happiness should be so thoroughly cursed by love’s caprices.”

The carriage fell into a brief silence, each lost in contemplation of Colonel Brandon’s plight, until Mrs. Dashwood, ever the matchmaker, brightened and said, “Perhaps, Farrah, someone fresh from different shores could change his luck. You are both new beginnings in your own right.”

Farrah, caught between amusement and bashfulness, managed a laugh. “Oh, Mrs. Dashwood, a distinguished man like him would hardly find what he needs in an American orphan like me.”

Their light-hearted banter filled the carriage as it rolled towards the Middleton estate, where the evening’s festivities awaited, and where, unbeknownst to Farrah, her fate might intertwine with the very man they discussed with such fervor.

Arriving at the party, they were greeted by the sound of laughter and music, the estate bustling with guests and festivity. As they alighted from the carriage, Farrah took a deep breath, steeling herself for the evening ahead, filled with both excitement and a hint of trepidation about the possibilities the night might hold.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Colonel Brandon awoke with a rare sense of tranquility that morning, the remnants of a pleasing dream lingering in his mind—a dream filled with laughter and light, a stark contrast to the last arduous eight months. It was a luxury to wake naturally, without the harsh summons of duty or the jarring sounds of a military encampment, and he savored the unfamiliar indulgence of arising late.

After dressing in simple attire, he descended to partake of a modest breakfast, enjoying the quietude that only a morning at one's own pace could offer. With a light meal concluded, Brandon donned his hat and strolled into his well-tended garden. The air was crisp, the garden lush with the bounty of late summer. He carefully selected an assortment of ripe fruits and crisp vegetables, envisioning them as a thoughtful offering to the Middletons. His next choice was a fine bottle of wine from his cellar—a vintage that had matured as gracefully as he hoped his own years were unfolding.

Once his gifts were prepared and set aside, Brandon retreated to the sanctuary of his personal quarters for a soothing bath. The warm water was a balm to his weary body, and he took his time shaving, ensuring his appearance was as meticulously tended as his estate. Clad in the outfit he had selected the night before he examined his reflection. The mirror showed a man marked by recent trials yet carrying himself with an enduring hope that perhaps, at today’s gathering, new joys might begin to soften the old scars.

Mounting his horse, Colonel Brandon felt a stirring of anticipation. The ride to the Middleton estate was brisk and invigorating, bolstering his spirits further. As he approached the familiar grounds, his thoughts were optimistic, tinted with a cautious excitement about the impending social gathering. This day, he mused, might yet hold more promise than any dream could foretell.

#alan rickman #colonel brandon #new writers corner #new writter #sense and sensibility #original character #love #romance

7 notes · View notes

curiousb · 4 months

Text

The Bingley Family Album: Volume XV

We're catching up with another member of the Bingley clan today - Benjamin, over in Sanditon, and his fiancé Walter.

Top of the list after getting his own place, was to adopt a dog from the animal shelter. Enter Moody! He reminds Benjamin a lot of his childhood pal Bella.

~ Libra

~ Doofus / Lazy / Friendly / Pigpen

He proves to be great company while Benjamin is alone at home during the day.

And the pair soon form a close bond. (He also sports some rather splendid facial hair, just like his master.)

He quickly becomes a favourite with Dog Person Walter too. His family never had any pets while he was growing up, but he's thoroughly enjoying having Moody around now.

Benjamin was also keen to set up his own dedicated art studio at home, to pursue his dream of perfecting a masterpiece.

He finds inspiration everywhere he looks.

Well, I guess his ambition to make his mark on the art world has to start somewhere!

Robert doesn't know about art, but he knows what he likes, and that includes his ex's oeuvre.

Walter meanwhile is still risking life and limb on a daily basis as an Adventurer. He's certainly well equipped for tackling the considerable risk posed by taking a shower.

Also on the agenda is hosting a house-warming party. Unfortunately, it turns into an occasion for Benjamin's past conquests to come back to haunt him - including his flings with Townie Chandler Platz (undocumented), Julia,...

...Robert and Anna.

While Walter was happy to be just one of many before their engagement, he now expects a little more commitment from Benjamin.

Now that they've reached a firm understanding as to the footing of their relationship, everything is soon smoothed over between them.

And - much to the surprise of both - it's hello, impending parenthood! But will Walter stay the course this time, or will he cut and run, just as he did in the past with Cassandra? (I've given up trying to rationalise same-sex pregnancy in my game - Sims aren't humans, they don't have the same biology as us, so it just happens, because I want it to! 😁)

#sims 2 #gameplay #merybury #sanditon #benjamin bingley #walter wentworth #moody bingley #julia bertram #robert dashwood #anna smith #cassandra crawford #bella bingley #chandler platz #bingley family

22 notes · View notes

anxious-scrambles · 3 months

Text

Baldur’s Gate 3 Characters

Here is a brief introduction to my current beloved OCs.

Dreuer

Full Name: Dreuer Wildfel

Aliases: The Dark Urge

Race: Mephistopheles tiefling

Age: 47

Class: warlock (Greater Old One)

Subclass: fighter (battle master)

Background: The Haunted One

Sexual Orientation: demisexual, bisexual

Gender Identity: male (cis)

Romantic Interest: Lae’zel & Gale act 1, Gale act 2, 3 and end game

Knowing nothing of who he is and where he is from, Dreuer woke up on the nautiloid with a thirst for bloodshed. Determined to piece together his past and free himself of this lust for murder, Dreuer tried at first to face his problems with stoicism and in secret.

After confiding in Gale that he was afraid of his own uncontrollable actions, the two grew closer as they endeavoured to keep one another safe.

Dreuer faced his patron father, Bhaal, and defied him. He saved himself, helped save the city and now lives a quiet academic life in Waterdeep. Well. Mostly quiet.

There’s always room for a little adventure or two.

Corvid

Full Name: Robin Josiah Dashwood

Aliases: Corvid, Robert Crow

Race: human

Age: 27

Class: rogue (arcane trickster)

Background: criminal

Sexual Orientation: bisexual

Gender Identity: male (cis)

Romantic Interest: Shadowheart act 1, 2, 3 and endgame

The only son of Lord Josiah Dashwood of Waterdeep, Corvid was meant to grow up a well educated and respectable wizard. His birth mother, a lowborn woman from Luskan, died in childbirth, leaving Corvid under the care of a distant and resentful father.

After a series of notorious scandals, Corvid’s disobedience became too great for the family name to bear. He was cast out, took up a new name for himself and set about using his arcane talents for personal gain and petty criminal acts.

Corvid was taken from the roadside as the nautiloid swept across Waterdeep, where he had been lying in wait as a highwayman to ambush passing travellers. He isn’t sure if he wants to go home, as the family he has found since are the first people to care about him in his entire life.

Alyx

Full Name: Alyxanthe Black

Aliases: Alyx

Race: Asmodeus tiefling

Age: 34

Class: Fighter (battle master)

Background: Outlander

Sexual Orientation: pansexual, polyamorous

Gender Identity: female (transfem)

Romantic Interest: Astarion (act 1 & 2) and Halsin (act 2)

An exquisite markswoman and exceptional assassin, Alyx has been working freelance ever since her parents cast her out.

Alyx is quite the polymath, she is keenly intelligent and sharp witted, and is taking very cautious steps in her pursuit of the source of her ilithid infection. She was quite contented to be free of the tadpole and then leave, but since meeting her newfound friends she has set her sights firmly on several assassinations that frankly should have been executed years ago.

First target: Cazador Szarr.

Appearance Mods I Use:

Basket of Equipment

Boring Dyes

Tav’s Hair Salon

#bg3 #oc: dreuer #oc: corvid #oc: alyx #baldur's gate 3 #bg3 tavs #bg3 durge

11 notes · View notes

strangelock221b · 3 months

Text

E3 now. "She is still crying. When will she ever stop?" Please, this is Marianne we're talking about -- she'll cry until she's dehydrated, drink some water, then the cycle will repeat. :P

Mrs. Dashwood has no backbone, honestly. Elinor is the parent in this family, not her, and frankly, that's a toxic arrangement. Elinor shouldn't be the one to keep the family above water and out of scandal. Yes, Mrs. D's in mourning BUT SO IS ELINOR. Honestly, I wouldn't be surprised if Elinor was the parent even before Mr. Dashwood died.

Can someone PLEASE buy the Dashwood ladies a spyglass so they'll know who a visitor is before they actually arrive and not get their damn hopes up (looking at you, Marianne)?

Edward's back. He addresses the girls as "Miss Marianne, Miss Elinor." Excuse you, Ferrars, that's "Miss Marianne, MISS DASHWOOD" to you. Give Elinor the respect she's due as the oldest.

"Dear, dear Norland." Marianne, get over it. She's still acting like Norland is sentient. I get that's she's *sensitive* and a capital-R Romantic, but this is getting ridiculous.

Ugh, the lock of hair. I believe '95 leaves out that detail entirely. Marianne and her overactive imagination. At least Elinor's sensible enough to know it's not hers.

Sir John invites Edward to a party at his place and in practically the same breath he mentions the Steele girls. Edward's big secret is taking away even momentary happiness.

This Charlotte Palmer is sweet and silly, just like she should be. Meanwhile, her husband reminds me of '08 -- boring. Where's '95's sarcasm? Lady Middleton's looking down at the Steele girls for their upbringing. Bitch. Ah, Mr. Palmer does have more to say. He's crosser than '95. Dude, I seriously doubt she was the only eligible woman when you were wife-hunting. You should've married someone more your type, so don't be mad at her for your blunder.

At least Charlotte is enjoying her marriage. I guess "asshole" is her type.

Oh wow, Lucy's a bitch. Claws in, girl, you just met Elinor. Is it in the book that Lucy is fond of yellow? '24 also has a pretty yellow dress.

You can tell Anne and Mrs. Jennings are related.

Marianne, at least put on a smile when you're at a party and asked to dance by your host. She may think emotions are everything, but she should be able to fake some once in a while.

Anne has no idea she's making things super awkward for Elinor and Lucy, for slightly different reasons. But then, I get the feeling Anne making things unwittingly awkward is a constant in her life.

Lucy's no fool, she knows Elinor has feelings for Edward, so she's playing all her cards at once -- secret longtime engagement, "thinks of you and Marianne as his sisters," "you don't know him like I do," "don't tell anyone." I hear the book ends with Lucy and Robert making each other miserable. No one deserves a bad marriage more than this bitch.

Wait, Lucy is okay with Edward becoming a clergyman? I guess she assumes that as long as he's on his mother's good side, he'll get the money no matter what. Can you imagine this woman as a clergyman's wife?

Elinor's putting Mrs. Jennings down? She's giving you a Season, her son-in-law is letting you stay in his cottage, show at least a little gratitude, girl.

"I would put up with any unpleasantness to go to London, and I shall." Marianne, are you threatening your sister? Well, at least it's better than sulking.

At least Elinor and Mrs. Dashwood are both well aware why Marianne's eager to leave -- Willoughby. I wish Mrs. D wasn't so eager to push her into his arms. But at least she's doing it because it would make Marianne happy, not just to have a daughter married. *side-eyes Mrs. Bennet*

#sense and sensibility #sense and sensibility 1981

10 notes · View notes

bethanydelleman · 11 months

Note

How do you think Lucy Steele and Robert Ferrars's future looks like beyond the novel?

We know from the novel what their future holds:

Lucy became as necessary to Mrs. Ferrars, as either Robert or Fanny; and while Edward was never cordially forgiven for having once intended to marry her, and Elinor, though superior to her in fortune and birth, was spoken of as an intruder, she was in every thing considered, and always openly acknowledged, to be a favourite child. They settled in town, received very liberal assistance from Mrs. Ferrars, were on the best terms imaginable with the Dashwoods; and setting aside the jealousies and ill-will continually subsisting between Fanny and Lucy, in which their husbands of course took a part, as well as the frequent domestic disagreements between Robert and Lucy themselves, nothing could exceed the harmony in which they all lived together. -Ch 50

I think this is one of the things a lot of people fail to grasp about this novel: Lucy did not get a happy ending. This paragraph is dripping so much sarcasm there is a sigh telling you not to slip in the puddle.

Robert and Lucy fight with each other constantly. They hate Fanny and John (who hate them back) and they are continually fighting with them. Lucy maintains a no-shame suck-up campaign with Mrs. Ferrars and "wins" by becoming the favourite child. An honour that Elinor and Edward would consider an insult (they were never insulted by her real favour and preference Ch 50). And they all live together like that for who knows how long because you know Mrs. Ferrars is going to live to 100 fueled entirely by spite.

Lucy got what she wanted, she's rich, she'll probably inherit a large slice of Mrs. Ferrars's fortune someday, but at what cost? She isn't happy and she likely never will be. The true winner is living in a parsonage, with a husband she loves, and around £1000/year, which is her idea of wealth. Elinor Dashwood is happy and wants for nothing. Lucy lost.

(The one thing I would really like to know is what happened to poor Anne!)

#sense and sensibility #elinor dashwood #question response #lucy steele #robert ferrars #Lucy didn't win #basically their marriage sucks #and they don't really like each other

72 notes · View notes

forensicated · 9 days

Text

02x10 - With Friends Like That

TW: Discussions of rape, GBH, controlling behaviour/relationships and victim shaming and bigoted behaviour [from Pete as well as others. What a surprise, sadly!]

Bob returns to the station with two women in the back of his car whilst Tom reunites a man with missing stock in the car park. One of the women, Debbie, is in tears having been allegedly assaulted by her boyfriend the night before. Roy gently says he thought that the hospital would keep Debbie for a bit longer but Bob says she walked out. Given Sandra's demeanor, Debbie likely didn't get much choice. The friend, Sandra, names the boyfriend as Chris Garbett and insists Debbie wants him charging. Debbie has not uttered a single word herself since Bob picked her up from the hospital. Roy gently explains to Debbie that she'd have to give evidence against Garbett to take it further and, once she's in the interview room, tells Bob not to go and get the boyfriend until Debbie has decided for herself whether or not to take it further. He wants a statement as soon as possible because he feels she will change her mind, especially as the friend keeps answering for her. Bob is trying to get June to come and take the statement but Roy thinks she might open up to Bob more. "Women are funny creatures, Bob." "You should know, Roy!"

Ted is investigating a couple who have been committing burglaries. He asks them how many they've done in the last month and they suspect about 50. "Fifty... and I thought I was going to get home early tonight!"

Tom is trying to get the man who has been reunited with the stolen motors to sign his paperwork and leave. The man is confused because no matter how he counts them he keeps coming up with one more than he should. He knows there were definitely just 74 because he loaded the van. He drops one on the floor, stamps on the box, and then hands it to Tom as a gift for Ted for finding them) and signs that yes, he's now collecting 74! Tom keeps it for himself, sticking it in on his backseat under his coat, because it won't fit in his boot.

Bob is amused at how Ted recants finding the missing mowers. He stumbled out of a pub, half pissed, and found a van blocking him in. He called the boys in blue to come tow it away - and it just so happens to be a stolen van full of stolen mowers!

In the doctor's room, Sandra strokes Debbie's hair, promising that "he'll pay for this!" Bob arranges for them to have a cup of tea and then starts to arrange to take the statement.

Tom reports a robbery to Ted, the stolen items are almost all exactly what the couple in front of him and Ted had in the Harrod's bag that they were arrested with. There are a couple of credit cards unaccounted for. The man sighs and tells the girl to hand over the cards. June has just strip-searched her so she is amazed when she pulls her wig off and hands them over!

Bob asks Debbie if she wants to go through with making her statement. Sandra answers for her and says yes. Bob repeats what Sandra has told him so far to ensure they have it straight before they start taking the statement as they need it from Debbie in her words. They both went with the boyfriend, Chris Garbett, to a disco. Debbie left with Garbett and stood on some wasteground in a fire exit doorway. Sandra starts to answer and Bob shouts for her to stop and that she'll have to leave if she won't shut up. Debbie clings to Sandra and cries, begging him not to send her away. Pete breaks the tension by arriving with teas and Bob continues. "Would you rather talk to a woman officer, Debbie?" He asks before she shakes her head and tells him that they kissed and cuddled for a while and he was gentle and she enjoyed that. Sandra snaps that she won't continue with Pete in the room and Pete is dismissed. Bob reminds Sandra to keep quiet and that he has to hear it from Debbie. Debbie continues that Garbett then put his hand up her dress, and she told him to let go and that she wanted to go home. Bob asks if he touched her on her genitals and Debbie freezes. Sandra snaps that he did and when she told him to stop he beat her up and raped her.

With the admittance of a rape - though still not from Debbie herself - Roy tells Bob where Garbett works and to arrest him there and then take him back to the flat to get anything he wore the night before, particularly underpants. He wants him taken to Tower Wharf station so that they don't see each other. Roy places Debbie in the Chief Superintendent's office as it's more comfortable and Brownlow isn't in. He arranges for SOCCO to go to the wasteland and a female FME to attend and gets June assigned to look after Debbie because "she's done a course!" Roy gently tells Debbie what she's going to have to go through and offers to contact her parents. Debbie remains silent and Sandra says Debbie's father has died and she wouldn't want her mother to know what had happened to her so she's going to stay with Debbie. Roy and June subtly separate the girls and Roy growls to Sandra, when they're alone, that Debbie has been through something that will stay with her for the rest of her life and, whilst she's in his nick, he won't have more pressure put upon her than is necessary. He warns her to stop butting in because he's afraid she's going to give Debbie a guilt complex and she isn't to interfere or she'll be removed.

Ted takes the husband of the burglary reporter to CID and shows him the recovered stolen property. He immediately recognises his daughter's radio, the cards and the tapes. He then asks where the rest is - a Cartier wristwatch, jewellery, £700 cash, platinum cufflinks, a silver teapot and more...! In total he claims there's £10K missing but luckily they're well covered with insurance (!)

In his office, Roy calls Debbie's mother and requests her to attend the station, explaining that Debbie has been assaulted. Roy brings a change of clothes - a cleaning overall - and tells June that Debbie's mum is on the way with a change of clothes.

Ted tells the couple what the husband says he's missing after the robbery and they refuse to put their hands up, claiming it reads like a catalogue. Ted reports it to the DI as an obvious insurance fiddle but doesn't let on to the couple that he knows that.

Garbett is played by Glen Murphy (London's Burning and Frank Magorian, the father/husband of the mother/daughter pair that Phil Hunter sleeps with in series 18 - despite the girl being under 16) is taken into Tower Wharf station by Mike and Bob and, at the moment at least, he's staying silent.

Debbie gives her statement to June and keeps begging for a shower or even a wash in a hand basin. June tells her sadly that, until the samples and investigations are carried out, she's not able to wash so she doesn't remove evidence. Sandra snaps at June and asks her if her knickers are damp and claims she's getting a thrill from it. June shouts back at her that she's had enough of her. Ted and Roy overhear from outside. "... I'm going, that's your problem!" Ted insists, legging it. In the room, Debbie is in tears and June is shouting at Sandra to get out of the room, claiming she's purposely trying to obstruct the investigation. "I'll get you for this!" she shouts at June. Debbie breaks down, sobbing for her mum.

Outside, Roy asks Sandra what her game is. "I don't want Deb taken advantage of, that's all!" Pete is charged with keeping Sandra at the station but away from Debbie because she's a material witness. Roy then goes to collect the doctor, explaining that Debbie is sensitive and withdrawn and easily lead by the other girl who they've now parted her from.

In the interview room, Jim reassures Debbie's mother that she's brought her the right clothes when she worries that she might not have as something to focus on other than what really happened to her daughter. Debbie's mum claims that the police will think that she's just another girl who brought it on herself when Jim says that DI Galloway is doing his best to help her, as is everyone in the investigation. She tells him that she knows that Jim is trying to help but he's just saying what he's been told to say.

In the canteen, Sandra flirts with Pete and tells him that Debbie deserves what she got because she egged him on after teasing him. She offers herself to Pete on a plate, claiming he wants to take her out because he obviously fancies her. Pete says he fancies a lot of things at the moment and then shouts for Yorkie to look after Sandra whilst he goes to the toilet. Sandra then shifts her attention to Yorkie!

In the toilets, Pete tells Jim that Debbie is a bit of a tease and that she lead Garbett on. Jim shouts that he makes him sick. "She's been raped, Pete!" "She'll get over it. She probably enjoyed it! Mine you, clean her up a bit and I'd give her one myself!" "YOU BASTARD!" Jim shouts, punching Pete clean in the face. Jim comes back for him and the two men fight until the toilet is flushed by someone in the cubicle. [Never fails to let us down, Pete...!]

Upstairs, Debbie continues with her statement, telling June that Garbett pinned her down until she couldn't struggle against him anymore. Debbie admits she didn't tell anyone in the hospital or until it came out via Sandra because she didn't want to get into trouble. She starts to say that Sandra had told her to do something but Roy interrupts to tell them that the doctor has arrived.

Garbett is still remaining silent at Tower Wharf, just staring ahead as Bob says if he was any sort of man he'd admit what he'd done to her to give her a break.

The man with the lawnmowers rings Ted and explains he left a mower for him with Sgt Penny and he wants it back because it turns out he had miscounted after all and his boss is missing one. Ted says he doesn't know what the man is on about but he'll have a word and find out and then call him back. Later, Ted runs after Tom and tells him he wants a word with him. Tom plays the innocent when Ted asks him where the mower is. He then pretends to realise and tells him it's got to go back and that it's in the back of his car for him to take back. Ted is no fool and knows it's a load of crap.

Debbie's mother is horrified when Roy explains what really happened and she worries that she's pregnant or 'diseased' (At the time of filming the AIDS crisis was at its height). She apologises and says she's punishing everyone but herself when she feels it's her fault too. Roy asks why and names Garbett as Debbie's boyfriend and the rapist. Her mother snaps in shock that Garbett isn't Debbie's boyfriend - he's Sandra's boyfriend! Debbie's mother continues to tell Roy that Sandra's mother neglected her and her siblings and they were latchkey kids. Sandra used to get collected by men at the age of 14, she'd come home at all hours and then write her own late note. Debbie's easily lead and naive and felt sorry for Sandra. Her mother encouraged her to go out and get involved in things that teens her age were into. That's why she blames herself. She excuses herself to go home and wait for her.

Suffering with a nosebleed. Jim sits at the comms desk to take over from Taffy whilst he goes for a break. "You should try leading with your left next time..." Tom tells him.

Bob tells Garbett that the term 'rapist' is going to follow him around and eat him up internally. They've seen it many times. He finally speaks and says that he didn't mean to do it, he was drunk and was led on by Debbie. Bob reports to Roy that he has admitted it but won't be medically examined or make a written statement. Roy tells him to keep pressing for an examination and that his history is just criminal damage and nothing of a sexual guilty. It's written on his file that he's stubborn and will plead guilty in the face of overwhelming evidence to the contrary. He tells Bob that Garbett is Sandra's boyfriend. At Tower Wharf, Bob puts it to Garbett about Sandra and he pretends to not know what he's talking about.

The doctor asks Debbie what went through her mind at the time of the attack. She says she shouted no and that she didn't want it and then her mind went blank and she shut everything out. The doctor gently asks if she's had boyfriends or experienced sexual activity before and Debbie tells her no.

Roy confronts Sandra with what they know about her and Garbett. She's a hard-faced mare and claims he's not her boyfriend. Sandra finally says she didn't tell him to beat her up or rape her but, at the bar, they did have a bet/dare that Garbett couldn't take Debbie's virginity as Debbie had been saying she was going to wait for marriage. Garbett reckons he's irresistible to women and that Debbie wouldn't resist him. Roy says he knows a few men like that at the station but they don't go around raping women. Sandra watched Garbett flirting and they left at 1am with their arms around each other. Roy claims that she'd be jealous and she turned her spite from Debbie to Chris and she's punishing him because he did exactly what she'd dared him to. "I didn't dare him to rape her!" she snaps and claims she wouldn't have told her to press charges if she had. "Attack is the best form of defense." Roy points out, glaring at her. "Until now you'd covered yourself pretty well playing the role of the caring friend." He tells Pete to take her down into the detention room whilst he works out what he's going to charge her with. As Sandra is forced out of the room, the doctor comes through to see Roy and tells she has samples of Garbett's salvia, public hair and semen stains for him from Debbie's body and clothes, but she doesn't have evidence of rape. Debbie is still a virgin. Garbett 'was a man in great haste' and ejaculated before penetration.

Ted releases the burglary couple on bail, telling them he can't be fairer than that but they need to get legal advice given what they'd admitted.

Debbie is very innocent, asking June if she likes her shoes because they're the first ones she bought by herself with her own money. Roy and the doctor enter the room and tell her, gently, that whilst she has been sexually assaulted, she hasn't been raped.

Roy and June sneak off for a smoke together as they talk through what really happened. June is updated on the truth about Sandra and Garbett. Roy tells her he's going to press charges on Sandra of conspiracy to rape. He doesn't understand how any girl could do what Sandra did to a friend. June suggests that Sandra regrets sleeping around and, because she can't turn the clock back, she does the next best thing to bring Debbie to her level. "It'll all come out in court..."

Bob and Mike mock Garbett for what happened to him in the heat of the moment to get him to crack and admit what he did through anger. Bob claims that a doctor might be able to talk to him about premature ejaculation. Garbett bristles and claims he'll see his own doctor or no deal. Bob agrees to let his doctor be present but not do the actual examination.

Debbie is confused as to what has happened to her and refuses to give evidence, claiming they were her friends - or at least Sandra was. She wants to forget the whole thing and begs Roy not to force her. She says she'll think about it but without her evidence, the charges won't stick. Debbie feels like she's been given a fresh chance and never wants to relive the nightmare of what really happened to her again, especially not in court. She's not physically strong enough to deal with the truth. "It's alright. I understand..." Roy says before promising to take her home. Debbie freaks and turns, running out of the station. Before he can follow, Tom Penny calls him back to tell him about a suspicious death and Roy is wanted at the scene.

Aaaand the day goes on, just like any other as the credits roll.

2 notes · View notes

youremyonlyhope · 4 months

Text

Hallmark’s Sense and Sensibility

Yes. YES. All I've ever wanted was an adaptation of Sense and Sensibility where Mr. Dashwood is white, Mary Dashwood is Black (or another race), so that the sisters are mixed and it causes even more tension between their older white half-brother and his wife.

As a mixed girl, I’ve been begging for this version of the story to be told.

I can't believe Hallmark is the one to do it, but I am ready and excited to watch.

Hmm... is Fanny mixed... is internalized racism going to be an issue for her too? If so, I am here for that.

Edward is Fanny's stepbrother... I don't think that was the case in the book. But I infamously hate Edward so maybe I just didn't pay close enough attention to him. (It's a change)

BONNETS. They have bonnets! They have natural hair (probably wigs but still, natural textures), and bonnets. I am actually super happy about the costuming so far.

Ok I might like this Edward... We'll see. We're not at the part where he makes me mad. But right now... he's ok.

"Right kind of woman" ok girl. Sure.

I really liked that scene between Mrs. Dashwood and Elinor, while Margaret played the pianoforte.

Oh Col. Brandon. Already smitten. I do have one complaint though: Mrs. Dashwood is supposed to be about 40, to make it so Col. Brandon being 35 offputs Marianne even more that he's close to her mother's age. But this Mrs. Dashwood (who I really really like so far) is being played as much older than 40.

YES CURLING RAGS. And am I crazy but are some of Marianne's clothes kind of leaning to wards 1820s transitionary styles? I sorta love that if that's the case.

OK Willoughby... ok. You cute. I love this "Who are you?" thing we got going on.

That painting of a Black man in Georgian-ish clothing. Someone remind me to look it up. I love the framing of this shot with Brandon and Willoughby, and the painting between them.

God I adore Mrs. Jennings. In generally but I really like this one.

God, fuck Willoughby. I always forget how much I hate him.

"A daughter." No no no you're supposed to say "natural daughter." Come on.

Oh poor Willoughby, what a coincidence he's called to London, while Brandon's already in London, dealing with an issue involving his "natural daughter." Such unlucky timing...

I can't wait to see Steele sisters. I hope their hair is blonde, so there's no doubt that the hair Edward has is NOT Elinor's. God. This is what I wanted from a S&S adaptation.

OOH the Miss Steeles are Black too! Ok. Ok. Fanny you absolute hypocrite.

OH MY GOD. THE PAINTING OF DIDO ELIZABETH BELLE IS IN THE BACKGROUND. Oh my god. I literally just squeaked. No random family would have that painting hanging, especially with the cousin cut out only showing Dido but STILL. And adding the fact that I once found an Amazon listing for an Austen novel using the cousin Elizabeth as the portrait and cutting out Dido (and also that the portrait is from 50 years earlier) made me so mad. This little easter egg of including Dido's portrait in this movie is like HEALING that specific moment's pain for me. Oh my god.

This adaptation, is far too good. It's so much better than I thought it would be.

Ah yes, the constant talk of "beau"s from Anne.

YES THE LOOP ON THE TRAIN.

This Lucy is diabolical. I don't think I remember her being so... almost mean. Annoying yes, but mean? Hmm...

Love all these Black paintings. I wonder if Juan will show up, though that's a Spanish painting not English.

Miss Jennings has white servants. Love it.

I think they made Robert worse.

"And I always keep my promises." You tell him. I thought I was going crazy earlier, that a song sounded kind of pop-ish. But they're playing Kiss From a Rose right now on a string quartet, so they're going full Bridgerton with this. I didn't want to accuse it earlier, but now I must.

Ugh. Willoughby.

MRS. FERRARS IS BLACK. FANNY YOU SUCK. You're giving us light skinned mixed girls a bad name.

Edward didn't want to be in the same room as his main and his side chick. I forgot about the Mortons. He's got 3 girls. This is why I dislike him. And I really think this movie ended up playing up Robert Ferrars' personality in a way I'm not sure I liked, he was always charming but I don't think he was this rude.

Ok Marianne. You're not wrong. But I don't remember that. It's been over a year since I last read S&S, I really need to brush up on it I guess.

Wasn't Eliza married to Brandon's brother and then cast aside? I really need to brush up. However, god I'm reminded of how much I love Austen.

Well I enjoy this Edward's embarrassment a lot.

Ooh Fanny. I don't like Lucy but do not call her a peasant.

Ok fine, point to Edward. I will concede that this adaptation is doing a good job of making the watcher feel for Edward. I still dislike him the most of all Austen husbands.

This is truly a great Elinor.

They've been so careful with having everyone in gloves. And now Edward is thanking Elinor, taking her hand, and no one is in gloves. I see you costume department, I see you.

Yessss loose hair moment.

Oh my god, I always love Col Brandon when he says he won't rest until he brings Mrs. Dashwood and Margaret. Every single adaptation. It makes me so emotional.

Wow ok. This version is a very good Edward, a very good Elinor, a very good Marianne, a very good Brandon. Even a very good Willoughby. I can't believe they really made me actually want to forgive Edward. I usually still am salty towards him by the end. That alone makes this pretty amazing.

Costumes were fun. A little bit crazy but honestly sometimes Austen adaptations don't go crazy enough with the costumes. Minus some fit issues with the empire waists (same issues that Bridgerton is plagued by) and some weird closures in the backs of some dresses, it was really well done costume wise.

And I was surprised that race was not as much of an issue as wealth, though I still think that Fanny and Mrs. Ferrars had some colorism issues in there.

Really my only issue with the movie is that they didn't make clear how old Brandon was compared to Marianne. And I have some concerns about Robert's characterization. That's really all I can complain about though.

Dare I say... that Hallmark somehow created... my new favorite Sense and Sensibility adaptation...

#sense and sensibility #hallmark #jane austen

7 notes · View notes