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tommiruewrites · 1 year

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hi!!! i was wondering, can u write tewksbury x reader where the reader is very shy but quite smart, and very touchy? not like weirdly but that's just how she prefers to communicate when she's nervous? maybe reader is Tewksbury's best friend or something of that sort? could be headcannons or a oneshot or whatever you think suits it best

Cling to You

word count: 0.5k + bonus

requested: yes | no requests: open | closed request rules here

warnings: super creative title once more, fem!reader, reader has anxiety, [i think thats it but lmk if i missed anything]

a/n: sorry for the wait! i hope this is close enough to what you had in mind.

remember to like, comment, and reblog to support my writing <3

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As the thick wooden doors swing open, you hear your name and title announced to the room. Heads turn to take in the new appearance, and you feel your stomach twist at the attention. The crystal chandelier illuminates you brightly, making you feel as though a spotlight is following your every move as you enter the dining room full of people you do not know.

You don’t usually attend such high-class events, but, despite your aversion to social gatherings, you promised your best friend of almost eight years that you would attend his very first charity ball. In all honesty, you would do most anything he asked you to you think… but he doesn’t need to know that.

So here you are, carefully squeezing through the crowd in a dress that’s too itchy and shoes that are too tight. Your eyes scan the room in search of the one person you’re here to see, but no luck. Your shoulders bump with others as they walk past your retreating form, backing you into a wall in the very back of the dining room. You can hear music flooding in from the next room over, where people are dancing and drinking to their hearts content.

Unfortunately, your heart is far from content. You can feel it racing behind your ribs as your senses become overloaded with sights of people bustling about, and sounds of music and loud chatter, and scents of cake and red wine, and the feeling of your dress scraping roughly against your skin, and-

“There you are!”

You jump, gasping for air to ground your shallow breathing, as your best friend, Tewkesbury, weaves through a cluster of people to reach you.

“What are you doing all the way back here? I’ve been looking for you.”

You blink owlishly at him, opening your mouth to speak but not quite knowing how to respond. Your nerve ends spark and tingle with overstimulation that you can't quite shake.

Tewkesbury’s brows furrow in slight concern, noticing how your fingers tremble against your chest. “Is everything alright?”

Without thinking, you lift your shaky hand to the hem of his suit jacket, balling it tightly in your fist to try and relax your jitters. “I’m fine, thank you.”

Tewkesbury smiles comfortingly down at you, replacing his now crumpled jacket with his arm, which you gladly accept.

“Care for a stroll around the garden, m’lady?” He teases, a loving smirk adorning his features.

You feel yourself soften slightly under his gaze, “I told you not to call me that! But yes, please. I could use the fresh air.”

But of course, he already knew that. He’s known you plenty long enough to know all your tells, and he prides himself on being able to calm your nerves. He also knows your distaste for large social events, and he can't help but feel a little guilty for putting you in this position. However, he’s more than happy to help you through it all if it means he gets to be the one who’s arm you cling to as you count all the stars in winter’s night sky.

___________________

EXTRA HC'S:

You and Tewkesbury are basically inseparable, no matter how long the two of you have been friends

You're extremely intelligent and love learning new things, which works perfectly with Tewkesbury's insatiable need to share his knowledge on plants

While Tewkesbury is extremely extroverted, you are quite the opposite

You would much prefer to curl up in your room with a good mystery novel than attend fancy parties and balls and such

So, when you do have to go to such large events, you can imagine the stress

Thankfully Tewkesbury is always by your side

He's never had any problem with the fact that your touchy, it's just how you are

He actually quite likes it. It shows that you trust him

He'll let you hold his arm or squeeze his hand whenever the nerves get to be too much

And he'll never refuse a hug if you need it

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dreamsontheirway · 1 year

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Made to Fight | Tewksbury x Enola

Summary: the aftermath of the fight against superintendent Grail, drabble Word Count: 0.5k

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Lord Tewksbury had felt his heart nearly stop on two separate occasions that night. First, when superintendent Grail stabbed Enola with the prop knife, and second when he had seen her fall from the banister. After she had landed - quite gracefully he might add - he had run to her, inspecting the wound on her temple. His hands held her face lovingly and his heart wrenched when she saw her wince from the pain.

Despite the blood rushing from his nose and into his mouth, she looked at him with that same affection and admiration as he did, her.

"You were made to fight," she had told him, stroking his hair and smiling at him, tears brimming her eyes.

He stared at her then, wanting so desperately to lean in and kiss her soft lips. He would have, too, if her brother wasn't standing only a few feet away from them.

In the aftermath of the fight, and the arrests, Enola and Tewksbury sat on the steps of the square in town. Enola was wiping at the blood on his face, and he winced at the impact.

"Sorry," she said sheepishly, but continued her efforts.

"No, thank you for doing this," he expressed his gratitude.

"Considering you just did the same for me, I must declare that it is only fair."

She was right. Only a few moments prior, Tewksbury had dabbed at Enola's wounds. His heart had tugged when each stroke caused her to grimace in pain. He hated the idea that he was hurting her, even if it was in good faith.

She wordlessly continued to wipe at his face and he looked down at her face lovingly. Her brow was furrowed in concentration, and she bit her lip lightly.

"Enola," Tewksbury had whispered, so softly that she almost missed it.

She looked up at him, her facial expression turning to one of skepticism.

"What is it?"

"You are amazing."

She blushed before speaking, "Tewksbury, I--"

"It's true. You are so talented at what you do, Enola, but," he paused. "I despise that your work forces you into this kind of danger."

He peered at her through dark lashes, his brown eyes wide with emotion. She reached her palm up to his cheek, and rubbed under his eye, ghosting over an already yellowing bruise. In response, he lifted his hand and ghosted his fingers along her wound.

"Tewksbury, I'm alright."

"I know that, Enola, but what if one day you aren't?" His eyes teared up slightly then at the thought of Enola seriously hurt, or worse.

Enola merely sighed in response, and tilted her head so as to lean her forehead against his. Tewksbury tilted his own, placing a soft kiss on her forehead.

"What am I to do if one day you aren't alright, Enola?"

She gazed at him, unsure of what to say. She was not sure if anything needed to be set. He surely understood that this was her life's work and what she was meant to do.

"Perhaps you will just have to continue fighting alongside me then, Tewksbury."

-----

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#enola holmes #enola x tewkesbury #tewksbury x enola #tewksbury x reader #enola holmes fanfic #enola holmes fic #enola holmes fanfiction #enola holmes blurb #enola holmes hurt/comfort

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saninthebuilding · 1 year

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when the rain pours, it dries - tewkesbury

summary: after a tough day, you find yourself sitting alone in the rain. typical movie scene, of course. however, in your time of despair, who is it that arrives to help you up? none of than dear old tewkesbury.

word count: 1k

warnings: rain, hurt/comfort, angst (?), emotions, pre-established relationship, living together, L-bombs, tewkesbury being the sweetest boy

a/n: rewatched enola holmes 2 and i had the urge to write about tewkesbury. so i wrote about him.

hope you enjoy it! <3

it was a rainy evening, and i was sitting on one of the benches that were spread out in the park near the lord's office.

without an umbrella.

of course, it had not been my intention originally to get drenched by the downpour. however, i had been out trying to find clues for my newest case and had ended up losing track of time. as a result, i was now stuck sitting here, wet and cold and so utterly alone.

today had been absolutely terrible.

i had been put onto a new case only a few days ago, yet i had still not found any clues. the client had barged into my office early this morning, ruining my so far perfectly good day, screaming at me for being useless and wasting his time, money and hope.

i was trying- i really was. and things like these do not just happen overnight. but the couple heard none of it, calling me a liar, fraud and a thief, before walking out the door.

for some reason, it was too much for me.

on top of the rent being due for the apartment that tewkesbury and i shared, and all the mental strain i was feeling with mother being gone and the fact that i would never be as good as sherlock and tewkesbury being so busy with the lords, i think i had reached my breaking point after that.

which was why i was now sitting here on this bench in the rain, on the verge of tears.

oh come on y/n, don't be ridiculous.

but it was too late, because tears were already starting to stream down my face.

the fact that the rain was covering them up was a small blessing.

sniffling, i shoved my face into my hands and cried, irritation giving way to the disappointment and sadness that had building up for weeks now.

just great.

suddenly i heard footsteps coming up the path, only to stop right in front of me. then the rain stopped hitting the top of my head, and i looked up to see an umbrella covering me. a hand gripped the handle, and the person bent over from beneath, revealing tewkesbury standing in front of me.

he was holding an umbrella- a smart decision in this weather, and was staring at me in confusion.

"y/n?"

i instantly got off the bench, embarrassed that he had found me in such a state. however in my rush, i ended up stumbling and tipping forward, hands catching the front of tewkesbury's coat for support.

he let out a surprised grunt, his free arm coming to wrap around my waist, catching me before i fell.

"by god, y/n, you're soaked."

i raised my head to see him staring at me, eyes wide. "uh- sorry," i mumbled, righting myself and looking away. mentally scolding myself, i rubbed the raindrops off my face and turned to meet his gaze with a forced smile.

"hello tewkesbury. lovely weather, is it not? i was just out here collecting my thoughts. what brings you here?"

i could tell i was speaking too fast, and that my story was completely ridiculous, because i wrung my hands together in an attempt to calm myself.

"are you alright, y/n?" tewkesbury asked, seeing right through my sorrowful attempt at lying. "you seem...a little off."

"oh no, i'm perfectly fine, i assure you. absolutely wonderful. just enjoying the rain."

he raises an eyebrow, skeptical from under his unnecessarily large black umbrella. seriously, who made that thing? he could fit 5 people in there.

and then there was the matter of him.

how could he look so handsome an such an ungodly hour?

"so, um... what exactly are you doing here?" i asked, hoping he would just answer my question instead of worrying about me.

i hate it when he worries.

he sighed, taking the bait. "i was out at the lords' all day, remember? there was that meeting to discussion the formation of a new bill, so i only just got released."

i cringed, realizing he had told me this both last night and this morning before he left.

oh no, i've completely lost it.

why couldn't i do anything right?

i could feel the tears rising again as my throat began to close up, and i let out a shaky breath.

tewkesbury noticed.

gentle fingers tilted my chin upward, and i saw him looking down at me with concern etched on his face.

"y/n, have you been crying? your eyes are red and you sound upset."

"what? no...no! i'm alright tewkesbury, i-"

my breath hitched mid-sentence and i could feel myself starting to panic.

not again.

tewkesbury cupped my cheek, before pressing his forehead to mine. the warmth of him was a shock to my cold and wet skin, causing me to flinch.

"oh y/n..."

tewkesbury pulled away and motioned for me to take hold of the umbrella, before removing his coat.

"here, put this on."

i opened my mouth to argue, but the look on his face was more than enough for me to be quiet and slip it on.

"thank you" i whispered, sheepish at how much he was having to do because of me.

tewkesbury pulled me into his arms without a word, simply letting the sound of the rain surround the both of us.

after some time had passed, he spoke up.

"truly, y/n. you must understand that you may lean on me if you need to."

"but i-"

"please, y/n. just trust me. i am always here for you if you need me, but that requires you to let me. i cannot help you if you do not let me."

i buried my face into his chest in an attempt to hide the tears that were filling my eyes.

"i don't want to burden you with my worries..." i mumbled, voice muffled by the cloth of his waist coat.

tewkesbury sighed. shifting his grip on the umbrella, he leaned down and gently pressed his lips to the top of my head.

"you're never a burden, my love. not to me."

despite my best efforts not to cry, tears began to find their way down my cheeks, and i hugged him tight.

"i love you tewkesbury."

"i love you y/n."

#lord tewksbury #tewkesbury #enola holmes 2 #enola holmes #enola 2 #tewkesbury x reader #viscount tewkesbury marquess of basilwether #tewkesbury imagine #enola x tewkesbury #lord tewkesbury #viscount tewksbury #tewksbury x reader #sherlock holmes #enola and sherlock #enola and tewksbury #tewkesbury x enola

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ladysunamireads · 2 years

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A Great Deal of Care

a great deal of care by ksoodomination

Tewkesbury will never understand why Enola loves to endanger herself so much.

Words: 1223, Chapters: 1/1, Language: English

Fandoms: Enola Holmes (Movies)

Rating: Teen And Up Audiences

Warnings: No Archive Warnings Apply

Categories: F/M

Characters: Viscount "Tewky" Tewksbury, Enola Holmes

Relationships: Enola Holmes/Viscount "Tewky" Tewksbury

Additional Tags: Treating Wounds, Late Night Conversations, Major Character Injury, Mutual Pining, Hurt/Comfort, Fluff, Friends to Lovers, 19th Century, Victorian, Post-Canon

Read Here: https://archiveofourown.org/works/40392867

#AO3 Feed #FanFiction #AO3 Holmesbury #♥#Holmesbury #EHM #⚤#🔍#R:T #Future Fic #A:Ksoodomination

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ksoodomination-write · 1 year

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a great deal of care

Rating: Teen And Up Audiences

Archive Warning: No Archive Warnings Apply

Category: F/M

Fandom: Enola Holmes (Movies)

Relationship: Enola Holmes/Viscount "Tewky" Tewksbury

Word Count: 1221 words

Additional Tags: Treating Wounds, Late Night Conversations, Post-Case, Major Character Injury, Post-Canon, Mutual Pining, Hurt/Comfort, Fluff, Friends to Lovers, 19th Century, Victorian, Sharing a Bed

“Tewkesbury will never understand why Enola loves to endanger herself so much.”

#holmesbury #enola holmes #lord tewksbury #enola x tewkesbury #19th century #victorian era

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arecomicsevengood · 4 years

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Quarantine Movies, Part 3

OLD BOYFRIENDS (1979) dir. Joan Tewkesbury

Not often I watch a movie and feel like “What the fuck is happening?” but I did with this one, written by Paul Schrader and directed by the screenwriter of Nashville. Talia Shire stars as a woman getting back in touch with her old boyfriends. She’s… recovering from a nervous breakdown? Sort of out for revenge? One ex hooks up with her again, and then, once abandoned, hires a private detective to track her down. A little boring at first, and then becomes baffling for most of its middle. John Belushi’s in it, playing a kind of pathetic schlub that feels convincingly like “the real Belushi” to me in the sense of me finding it uncomfortable to watch. I think maybe the film can be understood as a take on feminine psychosis in contrast to the masculine psychosis found in Schrader’s Taxi Driver screenplay. The psychosis here being this lack of self-knowledge that leads to manipulating people ostensibly towards the end of finding love.

KLUTE (1971) dir. Alan Pakula

Feel like I got the impression this movie was a joke from somewhere? Some Murphy Brown reference or something, playing to consensus of losers. (Edit: The joke’s in Wet Hot American Summer, but doesn’t really contain a value judgment about the movie.) It’s not great by any means but it’s not particularly tawdry given the subject matter. It is confusing that the movie is mostly about Jane Fonda’s call girl character, but the movie is named after Donald Sutherland’s character, who’s a detective. Maybe the joke was always just that people thought Jane Fonda played Klute. Movie digs into the sex worker’s psychology in a way that feels contemporary, except contemporary discourse doesn’t really allow for psychological insight, in favor of empty gestures towards representation. Sutherland’s out to solve a mystery, Fonda falls in love with him: I really did think this was smart in depicting a relationship where person was uncomfortable with the act of falling in love as running counter to their techniques of emotional distancing, except, I guess, for the fact that this is depicted in scenes of Fonda talking to her therapist that spell out what’s happening rather than depict this in a more organic way. But that it feels sort of shoehorned in is cool because the movie then largely has this mystery narrative it’s about. It is a little dull and could stand to be shorter, though the musical score does some nice grooves with dissonant elements on top, vaguely Morricone-style, though of course he’s got a deep body of work.

EYES OF LAURA MARS (1978) dir. Irvin Kershner

Criterion’s description of this chracterizes it as an “American giallo,” which seems about right. About a woman (Faye Dunaway) who takes violent/erotic photographs (shot by Helmut Newton) that coexist in both advertising and art gallery contexts. She starts having psychic visions of murder, the police are investigating her because some murders seem modeled after her photos, although that is not the case with any of the murders she has visions of, which then start to involve people she knows. So, like a giallo, there’s a lot happening, an interest in lurid style, and a disinterest in internal consistency as things ratchet up, and the twist ending (that the cop she started dating has multiple personality disorder) falls within that pattern as well. Not as good as the best Italian giallo, (which would I guess be Argento’s TENEBRE) or for that matter, the slasher movie HAPPY BIRTHDAY TO ME, which is an American movie insane enough to exist in the same conversation.

THE GETAWAY (1972) dir. Sam Peckinpah

Steve McQueen gets out of prison and is immediately set up by the prison official, who his girlfriend (Ali MacGraw) slept with, to rob a bank. He gets double-crossed, and then goes on the lam with his girlfriend. While in the past I sometimes feel like I am listing the names of the actors as endorsements, I’m not really doing this with the cast of this movie or Old Boyfriends. Good action sequences and suspenseful moments. Feel like the iconic images in this are McQueen with a shotgun, blowing up cop cars. Peckinpah directs from a Walter Hill screenplay adapting a Jim Thompson novel. This predates Walter Hill directing movies for himself, but it’s interesting how much more flash there is to the action here than there is in The Driver, you can sort of detect certain elements as being Hill’s interest (like the suspense of being pursued) and other stuff being Peckinpah, like the baroque explosions of violence. I like all of it.

KATE PLAYS CHRISTINE (2016) dir. Robert Greene

This isn’t very good. One half adaptation of the Christine Chubbuck story with a documentary about Kate Lyn Sheil. Sheil’s good in other things, this feels like a failed experiment. Weirdly this came out at pretty much exactly the same time as a movie about Chubbuck starring Rebecca Hall? The Rebecca Hall movie’s pretty great, and is an interesting performance, I would be interested in watching a conversation between the two actresses.

BRINGING OUT THE DEAD (1998) dir. Martin Scorses

A rewatch. Nicolas Cage plays an ambulance driver, Scorsese directs from a Paul Schrader screenplay. I like Nicolas Cage a lot, I like the cinematography in this one. I knew I would enjoy this, didn’t remember John Goodman being in it, Mary Beth Hurt is really good in it, mentioned her being good in Light Sleeper too, didn’t realize she’s Paul Schrader’s wife. Insanely hectic energy, shot through with hallucinatory holy light. Patricia Arquette is probably the weakest link in the cast, though it is her different energy that enables her to seem like a potentially redemptive figure for Nicolas Cage.

RAGING BULL (1980) dir. Martin Scorsese

This one’s a classic, but I didn’t like it the first time I saw it, over fifteen years ago, I think on account of being hungry at the time. Still, probably not my favorite Scorsese. The dialogue is interesting, due to De Niro’s character having a high level of aggression and paranoia, where pretty much everything that gets said to him he responds “Why do you say that?” which lends short scenes this circular quality. This reveals his character, in an efficient way, even though it makes the scenes feel insane and somewhat circular.

HOPSCOTCH (1980) dir. Ronald Neame

I liked this one a lot when I saw it years ago, didn’t really know the director’s pedigree came from doing Alec Guiness comedies. I don’t normally rewatch movie but my memories of this were very pleasant in a way suggesting it would be comforting. Walter Matthau plays a spy who is retiring but who gets everyone mad at him, which makes this kind of Prisoner-adjacent. He runs around, being the smartest guy in the room, having fun at being able to outsmart intelligent agencies. All of the globe-trotting of a James Bond kind of thing, but with none of the bloodshed. No one dies in this, uptight people just get mad at Walter Matthau being cool.

NIGHTFALL (1956) dir. Jacques Tourneur

Tourneur directed the original Cat People, which I love, and Out Of The Past, a classic noir I was not fond of when I saw it in college. This one’s good too, adapting a David Goodis novel. I know Goodis from a piece in Jesse Pearson’s magazine Apology, that makes the case he’s the best writer of crime fiction, on a sentence level. The dialogue’s good in this, but there’s also a cool structure: Following different characters, with it being fairly unclear what their relationship is to one another for a while, some flashbacks reveal things. The characters in this are pretty likable, Anne Bancroft is the female lead and the romance is believable. She plays a model, it’sf ascinating to watch movies made by a studio and realize they have the same woman designing gowns for all of them. Like they have the glamour provided in-house because it’s recognized that’s part of what people go to the movies for, but the the films don’t become ads for the designer or anything, like the way Jean Paul Gaultier’s designs function in The Fifth Element or something. Theme song is sung by Al Hibbler, who cut a LP with Roland Kirk.

5 AGAINST THE HOUSE (1955) dir. Phil Karlson

Criterion Channel has a collection of noir films Columbia put out, this is one of them, with a pretty good-sounding premise: Kim Novak is a part of a group of college friends that set out to rob a casino, but one of the group’s PTSD sabotages it. It ends up not really working as a heist film, for a number of reasons, one is that the “perfect crime” they engineer is not that intricate, the other, more important element is the characters are unbearably smug in a way that makes them really hard to deal with. Novak’s good in it, but no one else is: While the men are supposed to be funny, but aren’t, Novak sort of just has to be beautiful. She sings songs in this, and maybe there’s a voice double, but it seems she has a good singing voice. You can probably skip this one.

THE BIG HEAT (1953) dir. Fritz Lang

Not as masterful as the films Lang made in Germany, but still really good. A cop investigating a murder quickly gathers that a conspiracy is afoot, people make mysterious phone calls immediately after he interviews them, he gets his life destroyed, but keeps going. Gloria Grahame (who’s also in Nicholas Ray’s amazing In A Lonely Place) is great as a gangster’s party-girl-who-loves-money girlfriend who has her beauty and then her life taken away from her. There is an element of feeling like you’re seeing cliches be run through their paces, but I don’t mind, given the pacing. It’s mean enough you don’t know how dark it’s going to get. Jocelyn Brando, Marlon’s sister who also appears in Nightfall, gets a nice role in this.

MURDER BY CONTRACT (1958) dir. Irving Lerner

Oh, this one rules! Although I knew none of the people involved in it, everybody’s great. It feels slow as you watch it, it’s deliberately paced and seems to appreciate every scene on its own terms as a point of interest, rather than rushing through a plot. The score seems like it’s very close to just one instrumental piece, being used over and over again. About a dude, (who’s also in Kubrick’s The Killing, it turns out) becoming a professional hitman, and then flying out to California for a bigger job, where he has two people minding him. The hitman’s psychosis is not over the top, he just seems very self-contained, in a way that gets a lot of (almost) comedic mileage out of his interaction with other people

INVENTION FOR DESTRUCTION (1958) dir. Marel Zeman

This movie looks REAL weird and I have no idea how they got the effect? The degree of artificiality is highly distracting, in a way I don’t have a problem with in Guy Maddin or whoever. The whole thing sort of looks like the portraits of people that run in The Wall Street Journal? There are lines on EVERYTHING, like the sets are being made in this patterned way to replace color values. Everything looks artificial, but also collaged together. “Freely adapted” from Jules Verne, this involves boats, explosions, heists, etc. but all done in this sort of deep-focus theatrical staging that seems to combine animation and live action but in a way I can’t work out but also isn’t enveloping or convincing.

MAY FOOLS (1980) dir. Louis Malle.

I like a lot of Louis Malle, this seems vaguely like a deep cut, as I believe it’s unavailable on DVD. It takes place in France during the May ’68 protests, but is about a family getting together for a funeral/reading of a will. It’s suffused with weird free-flowing sexual energy, like everyone’s down to commit incest? Sort of in the name of revolution, but understandable as a movie in terms of being very french, and maybe something of a light comedy. (While Murmur Of The Heart also has incest in it, and is not a comedy, it’s very French.) People flirt with each other a lot, this is a pleasant watch if you are under quarantine and are fantasizing about casual sex or the overthrowing of the political class.

MON ONCLE D’AMERIQUE (1980) dir. Alain Resnais

This, too, is very French. The spine of the movie is Henri Laborit lecturing, lending the film an essayistic aspect, illustrated with footage of lab rats, but also footage of people wearing mouse heads and human clothes, the best parts. The guy’s theories seem agreeable to me but I don’t know what other people think about them. They’re illustrated by the fictional life stories of three characters, whose lives intersect eventually in their adulthood, though the film starts with them as children. Resnais is interesting, I’ve seen very few of his films but they’re all radically unique, though united by this intellectual edge.

FUGITIVE KIND (1960) dir. Sidney Lumet

Lumet also had a long and varied career, but I essentially view him as a highly-skilled journeyman, I guess due to snobbish bias gleaned from secondhand takes. I’ll watch pretty much any of his movies though, and so I watched this Tennessee Williams adaptation. Not sure I’d seen Marlon Brando in anything before, though I thought it was funny to say I possessed “the raw sexuality of a young Marlon Brando” in college. This whole movie is about how hot Brando is, and how all women want to fuck him and how all the men resent him. You would think the heterosexual male default would be to not notice how hot a dude is, but Brando is both physically ripped but with a feminine face that makes me “get it.” There’s a poetry to his sensitivity, but also an element of threat to how basically everyone who gets along with him is at odds with the racist, patriarchal, and parochial attitudes of the small towns he travels through.

MURDER ON THE ORIENT EXPRESS (1974) dir. Sidney Lumer

This is an Agatha Christie adaptation, where Hercule Poirot is played by Albert Finney, amongst a large cast of huge stars who are both hamming it up and not really doing anything. After watching two movies with Natasha Richardson, was nice to see her mom Vanessa Redgrave in something, though it’s a small part. The ending, where the detective works out that everyone schemed to commit the murder together and then decides that he will let them all get away with it, is fun, though by and large the “comedy” here feels a bit dated. This kinda feels like something that you would’ve seen already after having caught bits and pieces of it on basic cable growing up.

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harry-leroy · 5 years

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headcanon meme: 9, 16, 17, 18 and 19 for Henry VI, please and thank you! :)

Hi! Thank you so much for the ask! And an even bigger thank you for being so incredibly patient with me on response time. I’ve been trying to adjust to a new schedule and it’s been presenting its challenges, so I really appreciate you being so kind to wait. That being said, you gave me some real angsty prompts, so I hope you’re ready for angst (who ever is with this beautiful kid? *I ask the universe*). Most of these will be under a cut (they got long). I also apologize if I’ve lost some of the historical accuracy in this. Henry is totally my kid, but all of my attention has been on Edgar recently so I feel like I forgot things… (time to brush up on my Wars of the Roses knowledge again). Anyway, enjoy!

9. Humiliating Memories

This boy probably has way too many - more than he should have, given all of the unrealistic and contradictory expectations put on him from everyone else in his court. Because Henry is sensitive, he’d feel like any time that someone was gently correcting him that he’d done everything wrong. He’d probably want to cry taking any sort of criticism for a long time. Margaret and Humphrey help with this, because Henry does not need to be that hard on himself. One probably mildly humiliating memory was when he dressed up as a squire so he could go see Margaret for the first time. I could see Humphrey catching him afterwards and being like “what are you doing in those clothes”. It was probably an extremely awkward meeting too, probably because Henry was so awestruck with Margaret, and Margaret was still recovering from seasickness at that point. He probably wanted to rip off his disguise and leap into her arms, but alas, he had to keep it a surprise. Another one (probably more angsty) was when he started to hear Yorkist rumors that his son was a bastard, because he knew it wasn’t true, and so did Margaret. However, he was so wracked out at that point that it might have been one of the last things on his mind. He knew Edward was his son, and so did God, so York didn’t matter at that point.

16. Dark secrets/’skeletons in the closet’

I don’t feel like he has any secrets - or at least dark ones anyway. He tells everything to God, then to Margaret because he trusts those two with his life (and Humphrey too of course, before he died - and before the whole witchcraft thing). What he probably hides well is how terrified he is all the time. People can often see how tense he is, but they’ll never know the hell he has had to go through his entire life. It eventually causes a terrifying breakdown, and even then that’s something that Henry has to suffer through alone. All these different people want to be king? Fine, but you have no idea how much it’ll break you. Another “secret” I suppose was how much he loved his mother, even when she was taken away from him. How much more comfortable he would feel if she were there. She’d tell him how much Hal believes in Henry, and is looking down upon him every day with love. It would’ve been a great comfort to him. And eventually how much he cares for his half-brothers, which isn’t so much a secret later, but he’s not just keeping them at court for obligatory reasons, he actually cared for them so, so much.

17. Regrets

Oh my goodness, so many. He has regrets he doesn’t need to carry on his shoulders, but he does anyway. He regrets not fighting in battle, like his father had. Although, there wasn’t much that could be done to change that - he was the sole heir of the Lancastrian line. It wasn’t like he had three brothers like his father did. His father, in the line of battle was somewhat disposable, but Henry is all England has (and that scares the living daylights out of him). He regrets not being there for the birth of his only son, his only child. If he’d been well, he would’ve probably been right at Margaret’s side (even though that might be slightly out of custom). He probably regrets his entire illness, and probably blames himself for not waking up sooner, although that was nothing he could control either. He’d be aware of just how wary his noblemen were of one another after he woke up, and when St. Albans hits, he feels so, so terrible. He might even wish that the arrow would’ve been a little off and hit him in a fatal spot, but the pain was retribution for the kind of king he was (at least in his mind). He also might regret not being able to give Margaret any more children, and he really feels it when he looks at the York family and how many sons Richard, Duke of York has. Margaret is the one who has to calm his worries, and she tells him that Edward is all that matters, and that was what God intended, which gives Henry some comfort. Henry would also regret the fact that he missed so much of his son’s life. He would try so hard in that room in the Tower to imagine his son all grown up, but all he can see is the fiery boy who he left all those years ago so he could run away. Edward would be on his mind every single day once he was imprisoned.

18. Things They’ll Never Admit

Other than the fact that Henry is scared out of his mind every day, I feel like he’s generally a pretty open book - but only to a few people. He’d never tell any of his fears to the Yorkists, because he sees all of them circling around his family like wolves. I also feel like sometimes, as much as he absolutely adores and respects Margaret, that he would sometimes wish that she would take his side, see things the way he sees them, take a peaceful way out. It’s probably one of the strains on their marriage. He’d also never admit how he sees his son growing up to be the man that Henry wishes he was, someone who is physically brave, fiery, a true Plantagenet. Henry would feel like he fell totally short of the family blood, and it’d make him feel terrible, as much as he loves his son.

19. People They’ve Hurt or Indirectly Killed, and How it Affected Them

St. Albans was such a terrible turning point in Henry’s life. It was the moment that things could not go back to the way they were, no matter how hard anyone tried to turn things around. He watched his advisors being slaughtered in front of him, and through the pain of that arrow would, the lightheadedness he’d feel from blood loss would be crushed down by all of the guilt. He’d feel the same after every battle, that so many people were hurt or killed for a throne that (he felt that) he should’ve given up a long time ago. Henry was convinced by his lords that he was doing a terrible job, and that anyone but he would have been better for the job. Those comments eventually get to you, especially when you’ve got a heart of gold like Henry does. When he hears that his son was killed at Tewkesbury that just about does it for him. He’s ready to go at that point. That grief can make you act in ways you’d never think to act, it can break you down, and it can kill you.

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