#(who was clearly being set up on a teenage discovery/maturation journey already)

[bitterrobin]

the mom/dadification of Dick really starts to be detrimental when people say things like "[insert parental figure] should've done more to properly reprimand/comfort [insert whump blorbo here]" Especially when it comes to the 2009 era with Tim's whole deal - its always "why didn't Dick 'parent' Damian better and do something for Tim???" and never actually analyzing why that whole idea is wrong. Dick isn't Tim's father and Dick isn't Damian's father. He's Tim's older brother first and foremost. Why does whenever Bruce die or do something shitty suddenly everyone shoves Dick into the Fatherhood role? He has responsibility as the adult in simple terms, yes, but at the time of Bruce's death in the 2009 Reborn era he was not Damian's family.

He was watching Damian because Damian at the time was an obstacle, like running around having to carry a bomb and watch it so it doesn't explode. He wasn't taking care of Damian because he cared about the kid (at first) and he told Tim that much before Tim decided to leave. He explicitly told Tim that he trusted him as an equal partner, not another kid he needed to watch out for. And whether that sentiment is wrong or not is your opinion, but theres something to said about Dick's own struggles with independence and how he was probably trying to give Tim a chance of independence that wouldn't end as badly as Dick and Bruce's schism did. It backfired in a sense, and honestly I feel regardless of whether Tim stayed as Robin or not things would still have ended shitty because they were both grieving and Tim is a teenager becoming an adult and they were not agreeing on the Bruce thing. (Even if Tim was never shown on panel telling Dick his actual ideas for Bruce being alive before he left).

Whatever idk. I just feel people forget Dick has his own serious issues and absolutely none of the Batman characters would be adept at therapy speak or actively acknowledging their own problems. Dick has his own shit to deal with, just as Tim has his own issues and Damian has issues. There's never going to be a correct solution to the very human conflict going on. You can't "I'm a good parent/sibling" your way out of it. Dick suddenly gaining self-sentience and deciding to punish Damian like a dad would change nothing. Honestly it'd make things worse, Damian has never responded well to parenting and I don't get why people think getting yelled at or put in baby jail would fix his deep-seated issues with the concept of mom/dad. Damian getting punished wouldn't fix anything. Tim staying Robin wouldn't fix anything because he was already set on leaving to search for clues on his theory.

[lovehaswonangelnumbers]

New Post has been published on https://lovehaswonangelnumbers.org/the-sabian-journey-of-magical-chironthe-wounded-healer/

The Sabian Journey of Magical Chiron~The Wounded Healer

The Sabian Journey of Magical Chiron~The Wounded Healer

By James Burgess

Chiron is leaving Pisces. On February 18, 2019, it arrives at the first degree of Aries, commencing the start of a new 51-year cycle. We can track its Sabian journey to discover what Chiron is trying to teach us.

Chiron, known as the ‘wounded healer’ is a symbol of awakening. It brings a shift in perception – we change how we see things – and this perceptual shift is an aspect of our awakening, the key that unlocks secrets about the nature of reality. Its discovery on 1 November 1977 heralded a new era of human consciousness.

I remember the period very well when it was last going through Aries in 1968 – 1976. We had already been shocked to see what had become possible in the world, which was at last, starting to get over our history of poverty and grinding repression.

We had assimilated the shuddering impact of rock ‘n’ roll, The Beatles, The Doors, and Dylan and were dressing colourfully, rebelling against conventionality, and claiming unprecedented clout as teenage spenders – the fashion and music industries had reached economic maturity.

All of this was huge; yet the spark that could light up this potential fireball had not yet been lit. Not until Chiron entered Aries. During its passage through Aries some major initiatives occurred that have subsequently grown into era-defining movements. Here are some:

First Jumbo jet

Moon landing

Microsoft and Apple started

Woodstock Festival, and the electronic music revolution of Pink Floyd and others

Political agitation, with Vietnam protests, Luther King assassination, votes for 18 year olds, and riots in the Soviet Union.

If you look beneath the surface of these events we can tease out a common thread, one associated with Chiron’s meaning. We see the acceleration of awakening consciousness.

People travelled abroad on Jumbos, and had epiphanies to see that previously-feared foreigners were actually very much like them. The space programme brought to us a picture of our planet appearing as a vulnerable little ball suspended in the vastness of space, which triggered greater ecological awareness. Technology began – today’s lifestyle in the making – with computers, internet, social media and mobile phones which had been all but inconceivable to the ordinary person.

Also, with music, dance, drugs, and sexual liberation reworking our collective mind-set, somehow we became a little more enlightened, responsible, and accepting.

Chiron is called the ‘Rainbow Bridge’ because its non-judgemental approach allows all the colours of the rainbow, and its ability to shift awareness bridges the separation between people of different viewpoints.

An aspect of Chiron’s teaching is equivalent to what many people are waking up to today – we need to get along better – and this will happen only when we see things from another point of view. Looking for and finding another viewpoint is a shared path for all of us who are now awakening.

The Sabian Symbol for the degree of Aries 1 is described by Marc Edmund Jones as ‘A woman rises out of the water, a seal rises and embraces her’. 

The ocean represents the unconscious, instinctual knowledge and behaviour of our species, from which uncounted initiatives are thrown up, as many as the waves of the sea.

Similarly, every word spoken could theoretically stimulate a knock-on effect creating tangible changes in the world. But most initiatives fall by the wayside, seeds spent without any lasting effect. Only one in a million thought-seeds can survive and we cannot know until later which will endure and have any outcome.

Yet not all are lost. There are creative initiatives, many of which are not well-formed or clearly stated as ideas, perhaps they are vague feelings just ready to become thoughts, and not even yet put into words.

In order to help this process we might want to improve our listening – not only to the poorly-expressed feelings of a friend but also to our own inner voice. We can also encourage new perceptions and ideas, especially in children who are less judgemental and stuck in old patterns.

It is intuitively clear that by 2070, when Chiron returns to Aries again, we will have either solved our issues to do with overpopulation, climate change, and other serious problems, or we will have paid the heavy price of collectively failing to do so.

Chiron offers us a way to build a bridge to that distant year and astrology historians may well be pointing to 2019 as the time that we found the seeding of our way out of the fog of confusion and distortion that currently clouds our thoughts.

From February 18, something can take place that is so very subtle that you may not easily notice or understand its long-term implications. Perhaps you have felt you were waiting for a special person or horizon-expanding opportunity; now is the time to be optimistic and expect this to occur.

Indeed we can all approach each new situation hopefully, and widen our sense of what might be possible – not excluding miracles and unicorns.

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[chicagoindiecritics]

New from Every Movie Has a Lesson by Don Shanahan: MOVIE REVIEW: The Goldfinch

(Image: americamagazine.com)

THE GOLDFINCH — 2 STARS

Normally, the book vs. movie argument centers around missed opportunities. The majority lament becomes about the necessary condensing and trimming executed by writers and filmmakers that shaves too much of the nuanced essence from the sprawling story of the written page. With The Goldfinch, a different effect occurs. Given a longer running time than most movies already and all the patience in the world, any additions of extra depth and detail to the film adaptation would not help. What is already present is bloated, sluggish, and ineffectual. That’s an odd circumstance to say the least. Talk about a movie that should have stayed a book.

The infeasible task of adapting Donna Tartt’s Pulitzer Prize-winning novel fell on Academy Award-nominated Tinker Tailor Soldier Spy screenwriter Peter Straughton (who, just to note, followed his Oscar glow with the trio Frank, Our Brand is Crisis, and The Snowman) and Brooklyn director John Crowley. The title refers to the Rembrandt pupil Carl Fabritius’s treasured 1654 still life painting that hangs today at the Mauritshuis in The Hague. The painting’s existence is significant as one of the few works of the artist to survive an explosion and fire that killed the artist himself in the same year.

Playing with ironic fate, that very painting resides prominently in the fictional setting of another explosion, this one of the terrorist variety occuring this century at New York’s Metropolitan Museum of Art. Theo Decker, played by Pete’s Dragon and Wonderstruck child star Oakes Fegley, survives a bombing that killed his beloved mother Audrey (Hailey Wist) while observing Fabritius’s oil-painted panel. The rush of sensory and mental memories of this tragedy manifest throughout the film in flashback snippets of nightmares shared by the teenager and the adult Theo we observe, played by Baby Driver’s Ansel Elgort.

LESSON #1: YOU NEVER KNOW WHAT’S GOING TO DECIDE YOUR FUTURE — Sure, everything ahead of people is unknown, but foresight wouldn’t hurt. Wearing shellshock like a sealing shellac at both ages, Theo is a young man growing in and out of several personal attachments of formative significance. At the time of his mother’s death, he is undefined and without true parents and solid friends. His future clean-cut and reinvented self, clad in tailored suits and posh spectacles, may look like an improvement on the outside, but is worse than the kid he was on the inside.

No matter the lift provided with each relationship, Theo remains consumed by the resonating aftermath of his mother’s death and the presumed destruction and loss of Fabritius’s masterpiece. In just a shade under two-and-a-half hours, The Goldfinch, like the novel, hops back and forth between the past and the present to saunter alongside the guiding tangents in Theo’s life. The transitions are abrupt and terribly uneven, matching the rough gamut of these intersecting people.

With his deadbeat father Larry (Luke Wilson) absent, Theo is taken in by the wealthy Barbour family and their well-to-do matriarch Samantha (Oscar winner Nicole Kidman) and her collection of welcoming or indifferent silver spoon children and schoolmates. A clue from the bombing bonds the inquisitive Theo to a fellow young victim, knotted by their fates, named Pippa (Aimee Laurence) and leads him to her legal guardian James “Hobie” Hobart, a restorer of high-end antiques. Theo would learn the trade and go on to work for Hobie as his slick and cultured front-man salesman.

Theo’s growing comfort and recovery is derailed when Larry resurfaces to claim his son and the financial benefits that come with him. Larry and his prostitute girlfriend Xandra (Sarah Paulson) remove Theo from the bustling and colorful urban penthouse and whisk him west to Las Vegas to a virtually empty housing bubble townhouse subdivision in the flatly beige desert. There, Theo is able to make one awkward friend, a woeful and troublemaking Ukranian immigrant named Boris, played by Stranger Things lead and Timothee Chalamet wannabe Finn Wolfhard.

LESSON #2: DO BETTER THAN MEDICATE YOUR PROBLEMS — From the moment Samatha Barbour volunteers some old prescription meds to Theo, we watch a parade of people offering easy exits and a young man that will never shake those vices. Every hit of a recreational drug, swig of a bottle, or drag of a cigarette adds to tailspin instead of relief. Those choices don’t help a man forget.

Broad character strokes are used to paint every character listed above not named Theo Decker. While this cannot compare to the sympathetic levels as his heart-warming turns in Pete’s Dragon and Wonderstruck, Oakes Fegley impresses mightily with his third performance of youthful loss and self-discovery. The young performer never overacts a single scene. He clearly taken cues and had good practice with this tonal level and it shows. Ansel Elgort is a good match of maturation to Fegley. He too can convey and engage subtle character fractures and always garner your eye contact as a viewer.

Everyone else around them are a revolving door of eccentricity. They are static sculptures of veiled enigma. The likes of Kidman and Wright represent stature and the promising roots of educating morals for the troubled Theo, only to never shift with the highs and lows of the kid. The contrasting flighty factors like Wilson, Paulson, and Wolfhard fare no better. Their presences feel fleeting and little more than soapy opera sludge when they are supposed to matter. It’s astonishing how something so full of eclectic talent could be so empty in impact.

LESSON #3: THE INABILITY TO SHAKE A SENSE OF FAULT — No matter which type of person above Theo confides his trust in, the hindrance to greater connection is thwarted by a burden of his own creation. He blames himself for being the reason he and his mother were even in the museum that fateful day. During this journey, Theo finds some shared tragedy and people to lean on or collapse with, but he is his own worst symptom for healing.

The soft gloss from cinematographer Roger Deakins counts as a feather in this movie’s hat. The camera legend mixes foreground and background points of focus to shroud suspicion and mystery in a striking way. However, it is an effect that given up on after the first 30 minutes. More of that sense of space, atmosphere, and tone could have gone far deeper into such a lengthy and weighty picture. The very same can be said for the very slight and weak score from composer Trevor Gureckis. Many moments could have used some cued oomph to press more importance. What is there is pretty and all, with its privileged (albeit esoteric) ocean of antiquity, but to what end becomes the question.

As aforementioned with the transitions, the meandering pacing of The Goldfinch is nearly maddening. There was more than enough time here and committed work from Fegley and Elgort to cure even the heaviest cement into sturdy drama. Instead, nearly every angle building towards a promised denouement of consequence, especially the titular piece of art, fades horribly to indifference. This story, in movie form, fails to make one care. Anything that lingers feels extraneous at best.

LOGO DESIGNED BY MEENTS ILLUSTRATED (#823)

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