lady-writes:

“I remember the turning point moment. I was watching an episode of Buffy the Vampire Slayer with my roommates, and it went into a backstory flashback set in high medieval Germany. ”Why are you sighing?” one asked, noticing that I’d laid back and deflated rather gloomily. I answered: ”She’s not of sufficiently high social status to have domesticated rabbits in Northern Europe in that century. But I guess it’s not fair to press a point since the research on that hasn’t been published yet.” It made me laugh, also made me think about how much I don’t know, since I hadn’t known that a week before. For all the visible mistakes in these shows, there are even more invisible mistakes that I make myself because of infinite details historians haven’t figured out yet, and possibly never will. There are thousands of artifacts in museums whose purposes we don’t know. There are bits of period clothing whose functions are utter mysteries. There are entire professions that used to exist that we now barely understand. No history is accurate, not even the very best we have.”

How History Can Be Used in Fiction – Ada Palmer (via smokeandsong)

I love their relationship. It’s one of my absolute favourite things about season five onwards, and I think that they both have this amazing chemistry, this found-family brother-sister dynamic that I don’t know if was planned and exquisitely executed by Nicholas and Michelle, or if it evolved organically on-set once they started working together. Either way, it’s beautiful. Because for all that Dawn began as a magical macguffin, she stuck around and grew and evolved into something that wasn’t just a splinter of Buffy, wasn’t just a spare, wasn’t just dead weight. She had her own arc of growth, change, and self-determination, like any other member of the core cast, and that made her into a character that almost every viewer could identify with, by the end.