#Christian symbols explained

[mindfulldsliving]

Understanding the Cross in Latter-day Saint Teachings: Responding to Criticism with Clarity and Respect

The cross is one of the most recognizable symbols in Christianity, yet its role within Latter-day Saint theology often sparks curiosity and critique. Some question why members of The Church of Jesus Christ of Latter-day Saints don’t display the cross prominently, while others view it as neglecting an essential Christian symbol. However, understanding the cross in Latter-day Saint teachings sheds…

[llinstarr]

Being non-Christian but loving Christians symbols is a hard challenge

[sanstropfremir]

Hello! I was looking through your kpop opinions tag, and I found what you said interesting and insightful. I was wondering what your opinions were on Key's Gasoline :D

i have............complicated thoughts on gasoline. i LOVE the graphic design and album marketing and i like a big chunk of the songs on the album, i think a lot of the styling and the mv are really well done. all those outfits are custom builds and the embroidery work is UNREAL, as garments they are beautiful pieces of work. but i don't really like how the song is just a retooled version of industry baby. and i'm not sure how i feel about all the crosses, to be honest. the use of them is obviously very intentional and undoubtedly they mean something TO key specifically in terms of his faith but it's..........not really a thing i can get behind, personally. something about it feels a little too evangelical to me and i will absolutely admit that i am overly sensitive to that kind of thing bc i've had more than one run in with evangelical attempts to convert me. i don't ACTUALLY think it was meant specifically as a whole dogmatic evangelical thing but i find myself being a bit......uncomfortable with the imagery even now a year later.

[araminakilla]

There's so much one can analyze from this, it's incredible.

[snekdood]

really wanna drill into tarot readers heads that sometimes... a snake.... is just a snake... and sometimes... its symbolic of renewal, rebirth, fertility, etc. instead of always being the cultural christian interpretation of Snakes Bad. even wilder when they rag on "snakes" all the time but like. have snake symbols on their desk or believe in the kundilini...... like... ya gotta choose... bc ya cant just take shit from dharmic religions, known for revering snakes, and then shit on snakes, the very focal point of kundilini yoga to begin with

[marchwardenofmordor]

I fucking loved Nosferatu. The Death and the Maiden imagery, how faithful it was to the original FW Murnau piece (including some of the recreations of iconic scenes), all the ‘Little Deaths’ and how FINALLY there’s some gnarly vampire erotica that doesn’t feature the vampire as some glazed twink, and has him as a rotten old corpse instead. Loved the Romanian dialogue. Loved that gruesome death scene, and the final frame was a fucking work of art.

Unfortunately it makes me so frustrated that not everybody will get it or understand it and why it’s so good. Everyone I’ve spoken to about it were too preoccupied with “all the weird moaning” and laughing at the full frontal vampire cock.

Meanwhile I’m sat there trying to explain vampire folklore and their cultural history, documents of ‘real’ vampirism, their symbolism and roots in xenophobia and antisemitism, blood libel, the manifestations of demons as personifications of shame and desire, Bram Stoker’s possible closeted homosexuality and his ties with Oscar Wilde and how Dracula was published around the same time Wilde was imprisoned, the ‘bohemian’ movement in the victorian period and how it simultaneously romanticised, fetishised and demonised Romani culture, la petit mort and necrophilia and how grief, sex and death are intertwined, the science behind why humans both are attracted to and repelled by the smell of indole, why funerals make people hungry/horny, the Victorian Christianity perspective on blood transfusions, the significance of blood as a ritualistic symbol and device throughout mythology and history, mental illnesses and medical conditions connected to vampirism and other vampiric folkloric creatures like the Nachzehrer and the Gwrach y Rhibyn whilst everyone looks at me like I’ve grown five heads

And honestly? I’ve never kinned Dr Van Helsing more in my life than at that exact moment.

By all means, take me to the cinema to watch a piece of vampire media but do not expect to win an argument concerning vampires against me because I can and will put you on your arse. This is my domain, my special interest.

[pearlcigs]

⋆ maybe some faith would do me good

christian!virgin!reader x ellie williams

summary ⋆ ellie's forced to go to some church camp thing for the summer. maybe she'll actually enjoy it if she keeps seeing you around.

warnings ⋆ 2.78k ⋆ smut, non apocalyptic au, guys dont cancel me😅, mention of suicide (jokingly) , implied reader virginity loss, religious themes, alludes to what david did to ellie, friends to enemies to lovers kinda, dacryphilia, public sex, sex in church, public humiliation, cunnilingus and fingering (r!receiving), pet names (baby, pretty girl, good girl)

ellie tried to protest when joel proposed the idea of ellie spending her summer days at some camp for religious kids that one of the elders in jackson had volunteered to host, she really did. she didn't know what joel was trying to accomplish. maybe he thought in some twisted way this would help her get over that encounter. it didn't matter what the point was, it mattered that she was being woken up at 8 in the morning on the first day of summer to go to some stupid camp. joel told her she was being dramatic, it was only a 2 and half week program and then the rest of her summer was free.

she was still grumpy nevertheless, slumping her way to this church retreat. she'd only packed enough for a week, hoping that if she ran out of clothes they'd be forced to send her home. A friendly old woman greeted her, smiling and cheerful unlike ellie. The woman led ellie to a room, explaining that this was her room during the program. She fought every urge to roll her eyes, knowing the woman was just being nice but, god, who really had that much energy this early in the morning? The woman instructed her to leave her bag on one of the beds— great she had a roommate— and then make her way to the prayer room.

ellie groaned at the thought. prayer room? she might as well shoot herself now. she complied nevertheless. her feet dragging along the wooden floor, the planks creaking with every step she took. the halls were white, various pictures of religious symbolism decorating the otherwise plain walls. she couldn't deny that the hallway made her feel uneasy. she could only imagine what it looked like at night. ellie sighs as she comes across a door, half open and she can hear chatter from behind it. she worked up the courage to walk through the door, preparing herself for whatever bullshit she'll endure while she's here.

she takes a look around the room, eyes all the girls who seemed to all know each other. each girl with their own smile on their face. ellie rolled her eyes, closing the door behind her and before she could even process what was happening, she was approached by a girl. you. "i didn't think you'd be here." you smile at her, oblivious to the one sided feud you had with ellie. you were the pastor's daughter, probably the one responsible for this little get together. god, ellie hated you. the way you dressed, the way you talked, the stupid smile on your face, the even stupider bow in your hair and that little sundress that showed so much for someone like you.

truthfully, ellie didn't have a good reason to hate you. especially since you two grew up together, being raised to be built in friends. but hating you just to hate you seemed justified enough for her. "didn't have much of a choice." she barely keeps eye contact, keeping her response cold and dry. you frown at that. "oh. okay..." you look down to your shoes, it was obvious you picked up on the dismay in her tone. her mind wonders, just for a second, if she took it too far. but she shakes the thought. "yeah." she clears her throat, looking around the room once again. "well... um..." it was ridiculous how quickly your confidence was knocked down. all because of ellie.

ellie chuckles, finding some sick amusement in your reaction. you were going to speak again, probably to ask something like 'are you mad at me?' but you were dragged away by your friends. ellie sighed, watching you walk away. her eyes trailing from the back of your head all the way down to your— woah. why the hell did she look there?! god, but the damage was done. ellie wanted to look again, certain parts of her practically begging for just another glance. she refuses though, instead focusing on one of the stained glass windows. nothing fancy, just a red cross with a blue background. the funding for this particular chapel wasn't exactly the highest.

ellie could feel herself warm up, her mind jolting such crude thoughts about you. she groaned, running a hand through her hair. you had her mind so confused. she hated your guts. she really did. but all she could think about when she saw you was how much she wanted to bend you over and just yell at you. for what? she didn't know. for being too religious? too kind? too innocent? her mind wanders again, to a new thought she'd never had before. she wanted to ruin you, give it to you until you couldn't possibly take it any more. watching all the innocence leave your eyes while she filled you with sin. ellie snaps out of her thoughts, noticing that the woman from earlier had begun to speak about the quote unquote 'fun activities planned'.

through out the day, she tried to avoid you. even when you tried your very hardest to make amends for something you had no clue about. she participated in the church themed activities with little enthusiasm, being told more than once to at least act like she was having fun. the sun had begun to set, the chaperones calling out that dinner was ready. but ellie wasn't hungry. she managed to slip away from everyone else. wondering the semi creepy halls, just thinking to herself. she counted how many times the floor squeaked and creaked. she was content with just doing that until she counted a creak that she didn't make.

she turned around, her heart rate a little elevated only to find out it was just you. she sighed and rolled her eyes, returning to her initial path. "hey... they said dinner was ready." you were wary, nervous and shy even, and she couldn't blame you. "i know." her tone was less harsh this time. perhaps she was feeling guilty for her outburst earlier. "you're... um, you're going the wrong way." you were just trying to be helpful, but with every word you spoke, the more ellie got angry at you. "i know." she repeated. she heart your soft footsteps running up behind her to catch up. "so, why are you going this way?" your voice was so sweet, just like the honey ellie imagined licking off your body at least 30 times today.

she didn't answer, continuing to walk in the opposite direction of where she needed to be. and you just followed like a lost little puppy. "hey? i said—" she cuts you off. "i heard you." her cold tone was back. "oh." just like earlier, your gaze redirected to your shoes. "don't do that." she sighed, looking over at you. "huh? do what...?" you look up at her, frown evident on your face. "look like i just crushed your heart." ellie looked away from you again, examining the religious paraphilia on the walls. you didn't reply, looking away again but ellie didn't miss the hint of blush covering your face before you did. "oh? did i just crush your heart?" she jokes, weirdly seeming to warm up to you. once again, she's met to no reply. she rolls her eyes, turning the corner in the hall. she was met with a door and she wasn't sure if she should enter.

"it's the chapel." you explain, sensing her confusion and hesitation. ellie looks at you, a little annoyance on her face that you knew something she didn't. she pulls the handle on the door, gesturing for you to enter first. "ladies first." she remarks, not much amusement in her tone. you walk in and she follows after you. it was empty and though it shouldn't be creepy, ellie felt unnerved. "wait! don't let it close—" you try to warn, but the door had already been shut. you sigh, biting your lip in anxiousness. "what?" she utters, wondering why her closing the door was a bad thing. "it locks from the outside." you explain and ellie's face drops. "that's fucking great." ellie groans, running her hands over her face, walking down the isle and up the two steps to the alter. you follow.

"i tried to tell you..." you mutter. ellie wants to yell at you. say something along the lines of 'you should have tried harder' or whatever but before you can get the words out your head is in your hands and you're crying. ellie's shocked, not knowing what to do or say. she sighs. "don't cry, c'mon." she comforts, moving your hands away from your face and wiping your tears. it made you reminiscent to when you and ellie used to be friends. "i'm sorry." you sniffle as she dries your tears. "why're you crying, hm?" she tries to be gentle but just at the sight of your tears makes her want to fuck you over the alter. "'cause you're being mean and i got us locked in here." you vent your frustrations, revealing just what a hard day you had because of ellie.

she feels terrible now, hating that she made you feel so inadequate. god, why does she even care how you feel? ellie looks at you, watching as you wipe the tears that she missed. "i'm sorry for being so mean." she apologizes, deciding to cut the act. she didn't hate you. she could never hate you. "i just can't get you out of my mind." she admits. you look at her blankly for a moment, clearly not understanding. but ellie can see the exact moment when your eyes lighten up, realizing what she meant. "you mean it?" you ask, full of hope. "god." ellie rolls her eyes and your naivety. she leans closer to you, pressing her lips against yours, her hands cupping your face.

you pull back and ellie is now the one who frowns. did she misinterpret all your signs? "i'm not good at that." you admit while avoiding eye contact. ellie chuckles, pulling you closer by your waist. "i don't care." she mutters, kissing down your neck. you gasp, her warm tongue running over your cool skin. ellie's hands venture down, grabbing your ass over your dress. the ass that started this whole mess. "ellie!" you were startled. it felt like all the statues were suddenly watching you, judging you. but it just felt too good to care. but it weighed in the back of your mind as ellie kissed your jaw.

"i'm gonna fuck you so good." she mumbles, becoming drunk with lust. "i've never..." you trail off, your voice transitioning into a gasp when her hands begin to roam over your body. "i know. so pure, huh?" she teases with an eye roll, mocking how the church would call you pure. you don't reply. you couldn't. you words stuck in your throat, your eyes focused on her hands. watching them caress your waist slowly sliding up your body to cup your breasts. "el..." your whisper, you voice filled with breath. "i'm right here." she slides her right hand back down your body, reaching your thighs. she trails her fingers over the flesh before pressing her finger to your clothed cunt. you gasp, clutching onto her tighter.

"i know, baby. feels so good, doesn't it?" she mumbles in your ear, her fingers circling your clit so gently over your panties, which were becoming soaked. "el, el, ellie." you breathed out heavily, trying your best to keep as most decency as you could. after all, this was a chapel. "saying my name just like a prayer." ellie acknowledges, her fingers slowly working towards slipping into your underwear. your eyes rolled back when her cold fingers finally touch the place you needed her most. your legs were weak, wanting to give out on you. ellie notices, biting back a laugh at how blissed you already looked. she leaned you against the alter, her fingers working faster.

"so pretty." ellie mutter against your clammy skin. "so good. you're being such a good girl." her words made you feel so dirty but so... aroused at the same time. "keep... keep saying that." you barely managed to get out, you voice coming out in broken whimpers. "yeah? you like being my good girl?" she gently slides a finger into your dripping cunt. ellie can help but moan herself. "ellie." you whisper, feeling more pleasure than you've ever felt before. "i know. i know." she comforts, knowing exactly how you were feeling as she adds another finger. ellie was so aroused, drunk on the power of ruining you, being the one to help you commit the worst sin you've ever done.

your head lolled back, feeling something you've never felt before. "el." you choke out. "i know. you're almost there." ellie sinks to her knees, kneeling in front of you. "should i confess my sins to you." she whispers, kissing your thighs. you can't respond, finding the scene before you so arousing. ellie lifts up your dress to reveal your lacy underwear. "of course." she mutters under her breath. "hold this for me pretty girl." she looks up at you, and you shakily take hold of the dress that she flipped up. she gently slides your panties down your thighs, never breaking eye contact with you. she helps you step out of them, shoving them in her pocket so she didn't have to put them on the dirty ground.

her eyes flicker down to your pussy, biting her lip. "ellie." you can't even focus anymore, the loss of her fingers deep in your cunt making you want to cry. "i'm gonna make you feel so good. just be patient." she kisses your inner thighs, teasing you. you can't say anything, complain about how much you need her. but luckily, she doesn't torture too much, cause in a matter of seconds she's sucking on your clit, with her fingers returning to their job of fucking you. the sweat on your body makes you hot to touch, needing your release so badly. you push your hips forward instinctively, greedily wanting everything ellie could give you. before you could even process how good ellie was making feel, your orgasm approached.

ellie couldn't help but moan as your own moans got louder and your free hand tangled itself in her hair. "so close, baby." she mumbles into your pussy, feeling just as pleasured as you do. "el. oh my gosh, el! please!" you mutter, your words conjumbled and not making much sense. "good job, baby." she mumbles as she finally pushes you over the edge. your moans are loud and broken, filling the empty chapel with such sin. the cross necklace around your neck sticking to your skin. "ellie rubs your thighs, pressing small kisses on your pussy. "can't get enough of this pussy." she moaned, so drunk on you, on lust, on life. "ellie—" you whine and she moves away but not before she runs her tongue through your folds one last time.

"so good." she praises and lets your dress fall back into place. ellie kisses you, the taste of your arousal still in her lips. she pulls away, both of you out of breath. the sound of doors opening cause you both to pull apart. your hands going to fix your hair. "ms. heather wanted to know where you two went. you okay...?" a girl ellie recognized as one of your friends from earlier asked you. ellie began to make her way down the steps and down the isle, you quick to follow. "yes, yeah. we just got a little lost." you speak slowly, trying to maintain your thoughts.

your eyes scattered around to find your underwear. ellie smirked when she saw you looking around, knowing they were right in her pocket. she would give them back eventually but the thought of you walking around a few hours commando just made her feel things. catching glimpses of you around the night pulling down your dress, looking around to make sure no one can see anything. but of course in the morning she'll return them after using them all that night, after her roommate when home sick. but this is ellie we're talking about. she had to tease you just a little bit. so on day two when everyone wakes up to gather in the prayer room to see a pair of lace panties hanging from the cross, the kids and chaperones were most definitely shocked, and of course ellie earned some death glares from you in between your embarrassment. and ellie can't help but think maybe she'll hang out with you at church more often if that's the reward.

another christian!reader x ellie williams fic!

[mindfulldsliving]

Exaltation and Misconceptions: Clarifying Joseph Smith’s Role in LDS Belief

Joseph Smith’s name often stirs strong opinions—both admiration and misunderstanding. A common claim is that Latter-day Saints worship him, but this is far from accurate. In the faith, Joseph Smith is revered as a prophet, much like Moses or Peter in the Bible, not as a deity. Misconceptions like these can blur the truth and fuel unnecessary confusion. By exploring scripture and core LDS beliefs,…

[ace-hell]

Ok so i am late by like a month, i have been busy and STILL didn't finish my native jewish miku but fuck it here's indigenous, native israeli miku with a little of my touch and a small analysis:

The clothes:

The dress is double layered and based on biblical description i saw of the clothes ancient jews wore i added yellow hoops at the end of the dress to represent the color of our oppression- yellow belts under the muslim rule and yellow stars in the holocaust

The embroidery:

The Rikma(embroidery) is a personal project i am working on for the past 3 months. The embroidery that WAS practiced on the land eventually was allowed only to muslims and arabs, jews in ottoman syria/palestine were so oppressed and poor they didn't have access to threads and around 1800's some rabbis discoraged jews being involved in arab activity, not only that the jews has completely disconnected themselves from most of the arab culture after the spread of zionism to the land as a form of building their own identity. And if there were jews involved in embroidery it is unknown bc all the photos i see are labeled as "palestinian woman" with no explanation if it is a christian, muslim or jewish.

My project consists of making patterns and motifs based on jewish history, symbols, traditions, land etc and i try to make it original, unique and as diverse from the tatreez as possible to avoid conflict. If any of you want i can explain in a different analysis on what each pattern represents.

The jewelry:

I genuinely suck at drawing gold and jewelry and tried my best to adorn her with as much jewelry as i can. The side piece(that can barely be seen) is also a pattern i came up with, i call it "amulet"

(ps. I forgot to make her a normal necklace, wanted to make it with a hamsa)

Henna:

Henna is still practiced by jews, mainly sefardic and mizrahi jews + ashkenazi jews who grow up and participate in mizrahi culture. The henna on the hands is based on patterns i saw some jewish artists made (on google unfortunately it didn't have names) which has the star of david on it and on the legs i made a mix of bukharan and yemeni jewish henna.

So here it is. A native, indigenous jewish/judean/israeli(te) miku. I tried my best✨

[tocomplainfriend]

Hey, hear this!

I'm not black and don't know that much about voodou. There are lots of people ready to talk and explain their concerns about their representation in HH. Please hear them! (the amount of disrespect done by a bunch of non-black people upon the topic is disgusting!)

The demonizing and villainizing of this religion has existed since the time of slavery. Using this symbols and closed religion to make a character more "edgy demon evil" is awful. This was Viv doing exactly. I do not believe Al was even supposed to be black/mixed until Viv got told about the use of the religion she was using. All of her main black characters have 0 features. They are just black to profit of "diversity" while she makes no effort to show it or be respectful.

To the people being like, "Aren't you also mad about her representing Christianity wrong???" Based on the fact of how she has talked about Christian people before... YES (I have a whole post about worrying it). But the point brought up is about a religion that's under discrimination based on racism and colonizer mindsets. About a problem that existed when slavery started. Viv is not making a critique or tribute of Voodou she is just using it to make Alastor seem "COOL AND EDGY".

I also do worry of the point she is trying to make about Christianity and believing in it. Specially cause that means her story about heaven and hell could be the blandest immature criticism someone could make. -and sell more people into the idea of "all believers of Christianity are bad people". Which I still hope, it doesn't happen directly in the show. Btw, I'm not Christian! I'm queer and have faced a lot of discrimination that a lot of people justified in their Christianism, I know the level of frustration people feel relating to that. But I have grown to realize, not every person that believes in God and Christ is a bad person. And that I don't get to throw all of those people under the umbrella of "bad" because of how I have been treated.

BTW, this person got blocked by Viv:

ALSO, THIS IS STUPID!

You are crazy to say this. They are many criticisms of Disney, specially this movie. You just didn't see it and decided to tweet this without even thinking of searching for this? Like, have you never heard of people complaining about how Tiana as the first black princess becoming a fucking frog for most of the movie.

Dr. Facilier is a demonization of voodou! Also, Mama Odie is the "Good magic" but realize how she doesn't use the symbols or African masks. But only the bad magic, has it? Most of the representation of the religion is Facilier too, and it's wrongly represented.

EDIT:

NAHHHH. GIRL

[fromchaostocosmos]

Rep. Marjorie Taylor Greene, the Georgia Republican who has been criticized in the past for her dalliances with antisemitic tropes and influencers, explained her vote against a bill defining antisemitism by saying that the bill it rejects the “gospel” that “the Jews” handed Jesus over to his crucifiers.

But Greene, posting on X, formerly Twitter, laid out a different concern: that the bill threatened Christian expression. “Antisemitism is wrong, but I will not be voting for the Antisemitism Awareness Act of 2023 (H.R. 6090) today that could convict Christians of antisemitism for believing the Gospel that says Jesus was handed over to Herod to be crucified by the Jews,” she said. “Read the bill text and contemporary examples of antisemitism like #9.”

In her tweet, Greene posts two photos: One focuses on the portion of the bill that adopts as part of its definition of antisemitism the 11 “contemporary examples of antisemitism” in the definition of antisemitism composed by the International Holocaust Remembrance Alliance. The second photo highlights the ninth example, “using the symbols and images associated with classic antisemitism (e.g., claims of Jews killing Jesus or blood libel) to characterize Israel or Israelis.”

Her fellow far-right Republican, Rep. Matt Gaetz of Florida, explained his no vote in similar terms on the same platform. “The Gospel itself would meet the definition of antisemitism under the terms of this bill!” Gaetz writes, and gores on to quote New Testament scripture that collectively blames Jews for Jesus’s killing

[milfstalin]

[...] I have been thinking about this for a long time. It is not my idea -- Domenico Losurdo and others have written about how the fetish for defeat is one of the fundamental characteristics of Western Marxism and how this is a misunderstood derivative of Christian culture.

Many Marxists act the same way. Their biggest worry is the purity of the doctrine. Every time that historical facts challenge the doctrine or show the complexity of the practical operationality of elements of the theory, they deny that these elements are part of the story of Marxist theory and doctrine. This is, for example, what doctrines of betrayal are built on. Every movement that appears to stray a bit from these “pure” models that were created a priori is explained through the concept of betrayal, or is explained as “state capitalism.” Therefore, nothing is socialism and everything is state capitalism. Nothing is socialist transition and everything is state capitalism. The revolution is only a revolution during that glorious moment of taking political power. Starting from the moment of building a new social order, its over. [...]

[...] The subject takes pride in not having any relationship with the entire historic concrete movement of the working class socialist and liberation revolutions. They take pride in not having any theoretical or political connection to the revolutions in China, Russia, Viet Nam, Algeria, Mozambique and Angola. They are, instead, proud of the supposed purity that their theory is not contaminated by the hardship of exercising power, by the contradictions of historical processes. [...] This kind of Marxism has no critical power. It can produce and does produce a lot of good analysis of reality but it is incapable of producing a movement that is strategic and revolutionary that aims to take political power. Therefore, the process of rebuilding a revolutionary Marxism in the West has to recognize these symbolic elements, which have become ingrained in Western Marxism, that were smuggled in as contraband from Christianity. These elements have to be submitted to radical criticism and surpassed.

[dogsandrainclouds]

I have a boss who has made troubling statements, including Holocaust denial, saying, “It’s understandable to question if it actually happened because there is so little proof.” They are verbally and visibly pro-Palestinian, with a history of attending protests—which, of course, is their right outside of work. However, when I’ve been forced into several conversations about these topics, I’ve tried to explain a humanist philosophy, advocating for peace for all in the conflict but a connected and felt pain for the community I am a part of before swiftly disengaging. In response, I’ve been accused of sounding like “all lives matter” and was attacked for refusing to “pick a side.”

I try to address these topics delicately because I strongly believe they don’t belong in the workplace. Yet, I’ve also felt compelled to offer a counter-narrative which is met with hostility.

Additionally, my boss has publicly identified me as Jewish in workplace meetings without my permission. They’ve shared statements like, “pride flags mean a place is safe.” I responded by explaining that I used to feel the same, but no longer do after events like the Dyke March. I expressed that the pride flag doesn’t always mean safety for everyone, including Jews. I was then asked if I was “against LGBTQIA+” and tried to clarify that I fully support the community but have concerns based on lived experiences.

I was also told that the Star of David is a hate symbol. For a holiday desk decorating competition, I was told I could not display it and should use a menorah instead.

This boss already had a formal complaint filed against them for spreading slanderous gossip about an employee who spoke out against them. The result? The person who filed the complaint was given the choice to switch departments (at a lower pay rate) or resign. They chose to resign.

In the workplace, my boss frequently brings up non-work-related topics and makes it clear that if you’re not “their friend,” you’ll be gossiped about to other staff. Unfortunately, I am stuck working in a closed office with them for 40 hours a week.

I don’t trust HR to handle this fairly, given their past actions, and I feel isolated. I am actively looking for another job, but I moved 17 hours away for this position just three months ago and support my partner financially, so leaving isn’t an immediate option. Besides this person I also really enjoy the job and have worked so hard to get into this title and role in my career.

I’m reaching out to the #jumblr community for advice or guidance. Any help would be deeply appreciated.

(For context, I’ve only recently started exploring my Jewish identity over the past two years. My grandmother converted to Christianity, but my mother grew up experiencing both traditions—attending temple with my great-grandparents while also going to church. I was raised in a more secular way, what some might call “Christmas-tree Jewish.” It’s only recently that I’ve begun my personal journey with my faith and identity, and I’m still discovering what it means to me.)

[apoloadonisandnarcissus]

"Evil Takes Root": The Temptation and Fall of Galadriel

How many Christian references do you want in Sauron and Galadriel’s scene in 2x08? Yes! Because this is Tolkien, and Christian-Catholic message is the core of his legendarium.

“The Original sin” (or “The Fall") is central to Tolkien world-building: “The dislocation of sex-instinct is one of the chief symptoms of the Fall [of Adam and Eve]” (Tolkien Letter 43). Lust is the “original sin”, and the gateway to sin, and from where all other sins originate.  

St. Paul writes "cupiditas radix malorum": “the root of all evil is cupidity". “Cupidity” is greedy and lustful desire. This is motivated by the fact that Eve ate the forbidden fruit because "she saw it, was beautiful". This explains why Christians have such a bad view of sex, especially when it’s not restrained by marriage.

There is lust for the forbidden fruit (the fruit from the tree of knowledge of good and evil that Adam and Eve were instructed not to eat in the Garden of Eden). This is when “sin” is first introduced into the world, leading to their banishment from paradise. The themes here are: disobedience to God, and succumbing to temptation (evil).

And it’s the serpent that inflames Eve's lust, and "Rings of Power" wasn't even being subtle here (even the OST for this scene is called "The Fall of Galadriel"): 

“Lust”, in its biblical/catholic sense, is the misuse of the body, sexually. The opposite of “lust” is “temperance” and “chastity”. “Lust” is disorderly sexual desire, and the subordinated enjoyment of sexual pleasure (against God’s law). It’s not just promiscuity, but extra-marital sex, as well.

In the Bible, “lust” is thematized by adultery (because marriage is a sacred sacrament, and acting against it, it’s breaking God’s laws, hence being a “deadly sin”). We also see this sin in connection with “idolatry” (one of Sauron’s crimes in Tolkien lore), when characters (such as Solomon) take foreign wives, symbolizing the forsaking of one’s partner for another.

Freudian symbolism: a crown (clitorical symbol) penetrating a sword (phallic symbol). That’s symbolic penetrative sex for you.

I’m not saying they are symbolically f*cking here, but they probably are.

And this serpent has a name, and a history of its own: his name is Samael (“poison of God”), the accuser or adversary, the seducer; and he’s mentioned in the Old Testament of the Bible, connected to Jewish tradition and early Christianity. Described as handsome and angelic, he’s one of the several angels who rebelled against God, and descend upon Earth to fornicate with women. He’s the prince of all demons, and a sorcerer. In the Jewish Kabbalah, he’s known as the “great serpent” who coils around creation and injects his venom into it. He’s associated with fire, and represents the Dark side of the Sun.

The devil is endlessly ingenious, and sex is his favorite subject. He is as good every bit at catching you through generous romantic or tender motives, as through baser or more animal ones. Tolkien Letter 43

Samael is associated with the Garden of Eden, and with Original sin myth; because he’s the planter of the tree (or vine) of knowledge, the one with the forbidden fruit Eve will eventually eat.

Are they not the seeds you planted?

He has a bride: Lilith: a raven-haired demon cursed by her sin of rebelliousness. She’s Adam’s first wife, who rebels against him and against God, and flees from the Garden of Eden. She’s known for her dark, uncontrollable and dangerous sexuality; she’s the mother of demons. God tries to get her back, but she has slept with Samael already. With him, she creates a host of demon children.

Now you know the meaning of the wine on *that* peak. And there you have it, folks: the queer couple of “Rings of Power” is Sauron and Adar, and this should surprise no one, really. Adar was obviously the spiteful ex-lover on a personal vendetta, and the show even went with the “bury your gays” trope with him. And Sauron is the queerest character to ever queer, so there’s that.

What this Uruk right here is saying is that he ate the “forbidden fruit”, too. Because he “saw it, it was beautiful”.

Back to Samael and the Garden of Eden; in some versions he’s the serpent itself, while in others he rides the serpent. Either way, he’s involved. He tempts Eve into eating the forbidden fruit, the original sin, lust. In one text, Samael actually had sex with Eve and impregnated her; he’s the father of Cain. God eventually castrated Samael to prevent him from filling the world with his demonic offspring.

Both of these demons are connected to another: Asmodeus (“wrath-demon”). The demon of lust (“original sin”), the king of demons, the prince of pleasures, the patron of passions, and the lord of luxury. He’s the Devil’s wingman, who’s known as a trickster, a shapeshifter, and a seducer who deceives people, causing them to stray from God’s path. He whispers into peoples’ ears, and inflames their passions and desires. He’s connected to power, seduction and testing of wills. While Lilith seduces men; Asmodeus seduces women. He’s known for being beautiful, charming and for his engaging nature.

In Lurianic Kabbalah, these three demons - Lilith, Samael, and Asmodeus - are connected, and interact with each other, in cooperation, to create a powerful force of evil to challenge God and humanity.

Which means, it’s possible to draw inspiration from these myths to create one single character. Which explains why Sauron has elements of both Samael (although I would argue this is more Morgoth coded), Asmodeus, and even Lilith when he was at Morgoth’s side and seduced Adar. Right now he’s on his “Asmodeus era”, so he seduces and wants women (Mirdania and Galadriel).

Evil takes root: Full-on penetration, followed by ejaculation (blood binding; the crown ejaculates Sauron’s blood into Galadriel’s chest).

But Eve wanted to eat the forbidden fruit. She wanted to bite into it, it was consensual. She was tempted, and she succumbed to temptation, to lust. Like Adar drank the red wine Sauron gave him. He drank it all.

So whatever is happening here is meant to be seen as consensual. No idea why they decided to make it look so brutal, then. However, and playing the Devil’s advocate here; why would Galadriel surrender her chest for stabbing, in the first place? Which leads me to next religious reference at play in this scene:

“Rings of Power” also went all the way with the The Ecstasy of Saint Teresa/Galadriel reference, by having her orgasm after getting stabbed in the chest by the spear of an angel of fire.

And Galadriel "ate the forbidden fruit", too. And she's about to join Sauron/the serpent.

But she snaps out of it (via Nenya), and jumps off the cliff. But it's too late, because evil already took root:

[a-s-fischer]

One of the things I hear a lot from Gentile witches and neo-pagans who want to work with Lilith or claim to work with Lilith, is that she is actually a Mesopotamian goddess, usually either Ishtar/Inanna or Erishkigal, and that it was the Jews, with their horrible patriarchy juice, who slandered her and cast her down, and so the Jews do not deserve to say what happens to her and it isn't antisemitism to work with her, or to completely ignore what the Jews say about what she is in a Jewish context.

Lilith is not Ishtar or Erishkigal. However, there is a Mesopotamian figure that is pretty stinking analogous to Lilith, and is probably her folkloric ancestor, by which I mean the idea of Lilith probably comes from this Mesopotamian figure. In fact, Lilith almost certainly is either a Jewish version of this figure, or, they are both descended from the same Near Eastern and Mediterranean basin folkloric figure. That figure is Lamashtu.

Lamashtu is, much like Lilith, the supernatural embodiment of maternal and infant mortality, a figure of power and terror, who functions as a way to embody and cope with the profound dangers that are pregnancy, childbirth, and infancy without effective medical care. the Mesopotamians never worshiped Lamashtu, but they did seek to appease her, including making symbolic gifts to her, to keep her from visiting them, and killing them or their children.

An interesting side note is that there is also a Mesopotamian figure who specifically opposes Lamashtu and functions as the protector of pregnant women and infants, and that figure is Pazuzu, a wind spirit, who ruled over other wind spirits, including ones called the Iilu in the Akkadian language. Akkadian is a Semitic language, related to Hebrew, and this word is probably a cognate of Lilith, but the Iilu probably have no relationship to the figure of Lilith except her name. You might know Pazuzu as the demon featured in the movie, The Exorcist, and ironic fate for a mythological protector of women and children.

Anyway, if you'll remember, I implied above that the Lamashtu/Lilith figure, was present in various guises throughout the Mediterranean basin and the Near East, so there are of course figures analogous to both of them throughout the region, such as Lamia of Greece, and the Strix of Rome.

So if you really really want to work with a figure who functions as the supernatural embodiment of maternal and infant mortality, Lamashtu, Lamia, or the strix would all be excellent options that don't come from an extant closed religious practice. All the baby killing, none of the antisemitism and cultural appropriation.

While all three figures are almost certainly descended from the same folkloric root, they're all subtly different, because as stories and characters travel, they change. as such, they all have particular good points about them as figures of veneration.

Lanashtu is the OG bad bitch, who commanded fear, respect, and offerings, like a mythological mafiosa, collecting protection money.

Lamia has attached to her the story that she was one of Zeus's dubiously willing lovers, who was screwed over first by Zeus, the embodiment of patriarchical rule, then by a jealous Hera, the embodiment of patriarchal marriage, so if what attracted you to Lilith was the story from the Alphabet of Ben Sira, about a victim of the patriarchy getting her own back through violent vengeance, Lamia might be the girl for you. With her however, the emphasis is less on her murder of children, then on her seducing and eating men, though she does also get strongly associated with killing children, especially boys.

And the strix is particularly interesting, because the word comes down to us in the modern Italian word for witch, striga. Indeed, one of the theories as to where the witch figure came from in Early Medieval, and then Early Modern Christianity, was as the strix demon made human. This might explain the close association between Early Modern Witchcraft and infant mortality, including Italian stories of witches causing infants to die seemingly natural deaths, so that they could dig them up and eat them after their funerals, something that ties these human supposed witches very closely to demonic folkloric antecedents. If you are looking for a figure of unfairly maligned female power, the strix and her close association with later human witches, might be the one for you.

All three of these figures, much like Lilith herself, are reflections, both of the power women wielded even within patriarchal societies, over the process of pregnancy, birth, and childrearing, and also the powers of death and loss that everyone was subject to. There is something powerful, transgressive, and even healthy in acknowledging the fears and dangers presented by this death and loss,and for some people, that might take the form in venerating the underlying powers. If this is something that would be spiritually meaning for you, and you wish to work with such a figure, and you are not Jewish, please respect the fact that Lilith is part of a closed religious practice, and remember that Lilith has sisters, in other parts of the Mediterranean basin and the Near East, who are not from extant closed cultures, and who might serve your needs better anyway.

[marchwardenofmordor]

Since people liked my post about the new Nosferatu film, I’m gonna go a little more in depth about some of the things that REALLY stood out to me

- The sound design of his voice and the blood drinking: a fucking genius choice. Each horrific rattling inhale before he speaks and the way he trails off at the end of his sentences because he’s manually breathing for the EXPRESS PURPOSE OF SPEAKING. That monotone is fucking perfect because he sound like the air is being squeezed out of him with each word. The monstrous gulping and slurping as he drinks blood is great because it sounds equal parts disgusting and sexual.

- I think, as a personification of shame, that he is SUPPOSED to make you want to crawl out of your own skin. The moaning, the nudity, the squelchy sounds… if you went to the cinema to see it, I think the idea was to make you blush and perhaps have a bit of a bodily reaction that would have you glancing around at other people in embarrassment. Not everybody is going to want him, but he will tap into the shame of witnessing something sexual in public. If we take the particular time period the film is set in, too, I think he’s supposed to have us clutching our pearls, making us collectively hearken back to the victorian attitudes towards sex and shame.

- You know what else is great about putting us in that mindset as an audience? It makes us remember that talking about sex and death are still considered shameful and taboo - the Victorian period really wasn’t that long ago, and some aspects of that history still casts its shadow of shame over us. But as ashamed as we are, we’re also curious creatures.

- Sex and death are very closely linked. Again, a little death being a term for an orgasm, the fact that indole is a chemical that both repels and attracts us (the scent is commonly used in perfumery, and in small amounts, smells alluring and seductive, like white florals, or the literal smell of sex, but in large concentrations smells fucking rancid, like rotting bodies). When we die, our brains release a rush of endorphins, etc. Dead bodies have a ‘sweet’ smell before they begin rotting - again, that’s probably indole, and would explain some of the subconscious urges of a necrophiliac.

- He is also called ‘death’ multiple times, and we know that a little fraction of his power is bringing ‘la petit mort’ (a little death / orgasm) to his victims.

- Even rats are symbolic here of sex, death and disease: we know terms like ‘multiplying like rats’ obviously, and how rats are symbolic of the plague (even though it was the fleas that caused it). The presence of the rats and the cries of townsfolk about ‘disease’ and ‘plague’ are less like the actual literal plague, and - considering that Orlok is ‘shame’ - more like a metaphorical miasma sweeping through victorian society, reinforcing ideas of shame and purity and what is or is not proper.

- Bodily fluids!! There are tears, there’s cum, considering the rats (again) there’s excrement (also on the walls of the cell in the asylum??), and with the Renfield-type character there’s also saliva. This isn’t just for shock/horror - the main fluid shown is blood, and in the mindset of a victorian christian (historically, blood transfusions could only really be shared between a man and a woman who were married because blood was a life-giving bodily fluid likened to the life-sowing fluid of semen), the idea of a blood-drinking monster was fucking horrific and blasphemous, sinful beyond measure.

- Orlok’s appearance and the treatment of the G*psies in the town (once more - “bringing shame to this inn!” Likening them to the vampire) is indicative of the xenophobia and prejudice towards Romani Jewish people of the time period, where white victorian christians feared Romani people as being ‘child-stealing’, ‘blood-drinking’ (again, look up Blood Libel) barbarians prone to SA (stereotypes which sadly persist today), but also fetishised them as mystics. (I did my university dissertation on ‘boho’ tattoos, cultural appropriation and the origins of the ‘boho’ aesthetic and why it is just ✨not it✨ but I won’t go into that in depth because my analysis was literally over 5000 words)

- I love that the message at the end was basically ‘the only way to kill your shame is to lay with it, to accept it and love it’ - which is honestly true. If you learn to accept uncomfortable aspects of yourself and face them, they no longer have any sort of power over you.

- The female protagonist is dressed all in white, indicative of her purity and chastity, and it’s interesting to see how her wardrobe gradually darkens throughout the film, showing her becoming quite monstrous herself in one particular scene where she rips open the top of her dress and demands Thomas to ‘take her’, up until the final scene, where she is stark naked and covered in blood. Honestly wicked. I love a good corruption. Her character is so symbolic of the struggle of someone who is deeply repressed and chastised for her desires. Desires which started innocently and then - through suppression in an oppressive society and household (her father discovering her naked and screaming at her for being sinful)- were twisted and given form as something monstrous that literally eats away at her and those around her, because she brings her shame wherever she goes, and in the end, even though she faces it and sets an example, it ultimately kills her to do so.

- Also notice how NOBODY fucking listens to her. And every time nobody listens to her, Orlok grows stronger as she grows angrier and more frustrated. They’re feeding him by ignoring her. It’s sad that they look at her in the end, and deem her ‘sacrifice’ as noble, only really paying attention to her once she is dead, with her shame laying on top of her, crushing her. This is the torment of the Victorian Woman, told that she must deal with her problems alone by the male characters.

Edit: Also because the film is German in origin, I’d recommend looking up the ‘Nachzehrer’ creature - a ghoulish vampire-esque creature that would rise from the grave to drag its victims into death with it through various means, known to devour its own funeral shroud, rendering it naked. Fun fact: it was said that if a corpse was clutching its left thumb in its right hand with the left eye open (I think? It’s been a while since I researched it), it would rise as a Nachzehrer. They are also thought to be able to drain their victim’s life force remotely. The threat was said to be particularly great if the living gave the Nachzehrer a personal affectation - in the case of Orlok, it would be Thomas giving him the locket containing Ellen’s hair.