i love prince eric. from the little mermaid. he’s hilarious. because he seems like one of the most mild-mannered and unassuming princes in the disney canon, but he is also one of the few to actively kill the bad guy. most disney villains die by consequence of the final battle but are not directly killed by the hero/heroine. most of them fall to their deaths or cause their own demise, and sometimes the hero is indirectly responsible because they’ll launch them into that direction or something, but they still don’t bring knife to heart directly.
but then a couple do. and prince eric is my fave out of those few because up until the final act, he is the most chill motherfucker u ever seen. like he is quick to spring to action during the storm scene n stuff, but otherwise? he’s really quiet n sensitive and runs along the beach playing the flute for his big shaggy dog n he smiles like a lil nerd and gets all cute around ariel and he’s so sweet n everything.
AND THEN IN THE FINAL BATTLE THAT MOTHERFUCKER STRAIGHT UP DRIVES A SHIP THROUGH URSULA LIKE WHAAAAAAAAAAAAAAAAAT!!!! NO WONDER NO ONE IS TRYIN TO LAY SIEGE TO HIS KINGDOM!! ALL THE NEIGHBOURS ARE LIKE “HOLY SHIT DON’T GO THERE! PRINCE ERIC IS A BEAST! HE’LL STRAIGHT UP DRIVE A BOAT THROUGH YOUR BITCH!”
People complain about Rick Riordan “beating a dead horse” but HE CAN BEAT ALL THE DEAD HORSES HE LIKES.
Rick Riordan has actively added diverse characters in all of his books to represent more kids. Characters in his books include:
a Arab-American, Muslim Valkyrie (Magnus Chase)
a deaf/mute elf who uses sign language (Magnus Chase)
a Hispanic son of Hephaestus (Heroes of Olympus)
a half-Cherokee daughter of Aphrodite (Heroes of Olympus)
a Chinese son of Mars (Heroes of Olympus)
a bisexual God/Teen (Trials of Apollo)
a happy and loving gay couple, Nico and Will (Trials of Apollo)
a black male dwarf that loves fashion and design (Magnus Chase)
a black daughter of Hades (Heroes of Olympus)
a genderfluid, transgender warrior of Odin (Magnus Chase)
kids with ADHD and dyslexia (All greek/roman demigods in Percy Jackson and Heroes of Olympus)
POC siblings of mixed heritage, Carter and Sadie Kane (The Kane Chronicles)
and that’s just off the top of my head! This is not at all a conclusive list!!
When Rick Riordan first revealed Nico, a son of Hades in his best-selling Heroes of Olympus series, as gay people asked him “why?” and he said because he wanted kids to see themselves in his books and that all kids need to be able to see themselves in literature and find reassurance that they’re fine just the way they are. HE PORTRAYS ALL OF THESE KIDS AS HEROES. This is SO SO IMPORTANT
So unlike some people who beat dead horses and don’t even try to be diverse (*cough*JKROWLING*cough*) at least Riordan is constantly adding more and more young heroes and heroines that are diverse, well-rounded, and important.
THAT’S GREAT AND I WILL BUY EVERY SINGLE ONE OF HIS DEAD HORSE BEATING NOVELS FIGHT ME
”Fear no evil for thou art with me. Thy rod and staff comfort me. Preparest my table before my enemies. Thou anointest my head with oil. My cup runneth over. Surely goodness and mercy shall follow me all my life. I will dwell in the house of the Lord forever.”
Which Austen book/movie do you think had the most sexual tension?
Persuasion, hands down.
Think about it: every other novel depends wholly upon the uncertainty of the heroine being unaware of the hero’s romantic interest for some portion of the novel, with misunderstandings and difficulties largely brought on by the structure of Proper Courtship where it was generally considered inappropriate for either party to display too much obvious inclination until a proposal was actually made. (Marianne’s quick and clear affection for Willoughby makes a lot of people uncomfortable. Fanny Price is commended for her placid response to Henry Crawford’s flirtations. Elizabeth Bennet doesn’t even begin to remotely consider Darcy as a marital prospect until after he’s proposed and been rejected with some of the sickest burns ever committed to the page.)
But Persuasion. Ah, Persuasion. Anne has already previously accepted and then rejected Wentworth before the novel even starts. The whole book already exists at the level of tension we see reached when Lizzy runs into Darcy unexpectedly on her visit to Pemberley. That’s the whole book.
And it gets better.
Anne didn’t reject Wentworth because she couldn’t fuckin’ stand him, the way Elizabeth chewed off Darcy’s ear for being a dillhole to Jane and (she thinks) to Wickham. Anne loved Wentworth, and he loved her. They were devoted to each other. It’s the fact that she broke off the engagement despite this that rankles, for both of them. The attraction was there. It was acknowledged. It was allowed to burn wild and bright for that brief, delicious time before Lady Russell’s doubts and concerns seized hold of Anne and persuaded her to wreck his happiness, and her own. No, they were both fully aware of how much they wanted each other, and they were like “yeah, let’s get married, it’ll be great, I love you so much, oh God you’re so attractive, you’re amazing, I want to spend the rest of my life with you, you’re everything I could ever want.”
It was real and undeniable. They cannot unsay any of it. And then it was over.
And that’s just the backstory.
So despite Wentworth being hella difficult for Anne to read, and her own shattered expectations and self-esteem leading her to believe that of course he’s over her and totally into Louisa Musgrove, why wouldn’t he be, she’s young and cute and so many things Anne is not…we still get to watch Anne burn for this man after eight years apart and know that that’s a fire that’s never going to go out for the rest of her life, if time and distance and hopelessness and even the attentions of other charming young men in Captain Benwick and Mr. Elliott haven’t managed to put out those flames.
And on the re-read we can pick up on every look and cue from Wentworth which we then know to be signs of the fact that he is as helplessly lost to his desire for this person as he was nearly a decade earlier. He wants to believe otherwise and tries to act as if it is–and in a classic case of over-compensation gives rise to hopes and expectations from Louisa Musgrove which then very nearly lock him into an attachment which would surely divide him from Anne forever. And even when he feels himself safe from that, he confronts the possibility of Anne being taken by a rival in Mr. Elliott, and can only watch, rather than give a clear sign of his intent. After all the time that has passed, he is now in the position Anne was in at the beginning of the book, and must painfully struggle to weigh his own doubts against his desires. The no-liking-each-other-too-much-until-you-pop-the-question courtship rules still apply, and an open and happy flirtation at this point is not in their natures as individuals–they’re older than most other heroes and all other heroines. They know the risks. They’ve seen happiness slip away, before, and wonder if it is lost forever. Their emotional stakes are higher. He cannot bear to ask again, face to face.
The misery. The agony. The helpless and resentful eyefucking. That LETTER.
What people think I mean:
I get off on violence. I think hate sex is the best, don't think healthy and stable relationships are 'interesting' enough, and I purposefully sabotage all my relationships. I frequently ship characters with their abusers and consider dragging someone along and domestic violence 'grey areas' because if you look at context it really just means they love each other.
What I actually mean:
I love it when two people who hate each other, whether it be seemingly clashing personalities, or actual literal enemies (always enemies who balance each other out. Not 'anti-hero/villain guy constantly harasses heroine girl', but two people who are evenly matched and can hold their own against each other and even in hatred have somewhat respect for the other) who are fighting on opposite sides of a struggle, come together on equal ground and realize that they have more in common than they previously thought. When the two finally join the same side, whether it's due to the redemption of one character or what have you, they may not get along at first, but with time and effort the two eventually find themselves friends with the other. Only *after* they have an established trust and friendship do they then start to have romantic feelings for the other. The 'enemies to lovers' trope does not work if you cannot put 'friend' between the two.
Could you do prompts for a female villain who was the childhood friend of the female hero but the hero never picked up on any of the hints and now they're meeting for the first time in like 6 years and the villain still loves the hero and the hero doesn't recognize them.
1) “Why did you spare me!?” The hero nearly howled in her rage, feeling like her lungs and heart might burst right out of her chest with the force of her grief. She couldn’t stop shaking. She couldn’t stop crying, even if she didn’t want to give that monster the satisfaction of her tears.
The villain stared at her, expression frozen. “Because once, you saved me. I was trying to return the favour.”
The favour, as if any of this had been a favour!
2) “But you,” the hero spat. “No one would ever yield to the likes of you! You know nothing of kindness, or loyalty, or love.”
“And of course you are the expert of recognizing love and loving things. You have me all figured out. Clever you.”
3) A body flung her out of the way to safety, knocking the breath out of her, warm and armoured on top of her. Arms covered her head, as the shrapnel of the explosion missed them by inches. “Thanks.” She rolled over, expecting - not them. She stiffened. For a second, that unreadable, masked face seemed to study her. Fingers trailed over her lips with a tenderness not suited to either villainy or war. Then the villain was up and gone.
4) “So, they sent you to negotiate with me.”
“I’m told I’m very persuasive,” the hero flashed a smile.
“Yes, I’m sure that’s the reason they sent you. No.” The villain rose to her feet. “How dare you?”
She hadn’t even suggested anything yet!
5) “Do you know who I am?” “Someone who needs to be stopped.” The villain laughed, then - an oddly cracking, broken sound.
Oooh, what about some female hero x female villain prompts?
1) “I think it’s really sad that you have something against women in positions of power,” the villain mocked. “Honestly, I expected better from you.”
“So much for girls supporting girls.”
“Don’t drag feminism into your fucked up morality! Answer our questions.”
The villain smirked, always delighted to rile her up.
2) “I do so love these girly sleepovers of ours,” the villain sighed. She dipped the brush in the varnish pot, adding a delicate stroke onto the hero’s pinned down nails. Watching the red bloom as her special mix slowly corroded the hero’s skin. “Come on,” she mocked over the hero’s cries. “Tell me all the dish on the plans.”
3) “Maybe you should just seduce them into doing your bidding.”
“No need to be jealous, I have plenty of time to seduce you too.”
4) “I’m not some prize to be won!”
“Of course you’re not. Beautiful, strong, virtually incorruptible…” the villain looked her up and down with blatant admiration, smoothing her hands up the hero’s sides. The villain wet her lips and met the hero’s eyes seriously. “Darling, you’re treasure. How could I or anyone resist stealing you away?”
5) “And why’s a nice girl like you cuffed to someone like me to die?”
“Maybe I’m not that nice after all.”
The villain studied her, eyes narrowed. “They turned on you.”
6) “Saturday. 10 o’ clock. Wear that red dress I like.” The villain leaned in, and her stomach flipped. “Then we can talk getting those hostages back.”
7) “Oh, you’re just lovely,” the villain said. “I can’t wait to break you.”