#Familie Tanzer

[timothyhornibrook]

ASIC slams ex-Macquarie agri chief for fake family office

ASIC has banned the former head of Macquarie Agricultural Funds Management (MAFM) for creating a fake family office.

PE firm acquires Mason Stevens

A $2 billion private equity firm will acquire Mason Stevens for an undisclosed figure.

Adamantem Capital has signed a binding agreement to acquire the managed accounts specialist.

Mason Stevens chief executive Tim Yule said the transaction will deliver significant value and benefits for clients, employees, and shareholders, taking the business to the next level.

Mason Stevens Group was formed in 2012 when managed accounts provider Mason Stevens acquired 2020 Funds Management and 2020 DIRECTINVEST.

[aurumacadicus]

It's time to pick our August book for book club! Tumblr will vote, and the book club will then vote among the top three in Discord. If you’d like to join the book club, send me a message and I’ll send you a link to the discord! Keep an eye out for the other poll, and check out the books’ summaries under the cut!

Gwen & Art Are Not in Love by Lex Croucher

It’s been hundreds of years since King Arthur’s Reign. His descendant, Arthur, a future Lord and general gadabout, has been betrothed to Gwendoline, the quick-witted, short-tempered princess of England, since birth. The only thing they can agree on is that they despise each other.

They’re forced to spend the summer together at Camelot in the run up to their nuptials, and with 24 hours, Gwen has discovered Arthur kissing a boy and Arthur has gone digging for Gwen’s childhood diary and found confessions about her crush on the kingdom’s only lady knight, Bridget Leclair.

Realizing they might make better allies than enemies, they make a reluctant pact to cover for each other, and as things head up at the annual royal tournament, Gwen is swept off her by her knight and Arthur takes an interest in Gwen’s royal brother. Lex Croucher’s Gwen & Art Are Not in Love is chock full of sword-fighting, found family, and romantic shenanigans destined to make readers fall in love.

Dreadful by Caitlin Rozakis

It’s bad enough waking up in a half-destroyed evil wizard’s workshop with no eyebrows, no memories, and no idea how long you have before the Dread Lord Whomever shows up to murder you horrible and then turn your skull into a goblet or something.

It’s a lot worse when you realize that Dread Lord Whomever is… you.

Gav isn’t really sure how he ended up with a castle full of goblins, or why he has a princess locked in a cell. All he can do is play along with his own evil plan in hopes of getting his memories back before he gets himself killed.

But as he realizes nothing – from the incredibly tasteless cloak adorned with flames to the aforementioned princess – is quite what it seems, Gav must face up to all the things the Dread Lord Gavrax has done. And he’ll have to answer the hardest question of all – who does he want to be?

A high fantasy farce featuring killer moat squid, toxic masculinity, an evil wizard convocation, and a garlic festival. All at once. All in all, Dread Lord Gavrax has had better weeks.

A Magical Girl Retires by Park Seolyeon

Twenty-nine, depressed, and drowning in credit card debt after losing her job during the pandemic, a millennial woman decides to end her troubles by jumping off Seol’s Mapo Bridge.

But her suicide attempt is interrupted by a girl dressed in white—her guardian angel. Ah Roa is a clairvoyant magical girl on a mission to find the greatest magical girl of all time. And our protagonist just may be that special someone.

But the young woman’s initial excitement turns to frustration when she learns being a magical girl in real life is much different than how it’s portrayed in stories. It isn’t just destiny—it’s work. Magical girls go to job fairs, join trade unions, attend classes. And for this magical girl there are no special powers and no great perks, and despite being magical, she still battles with low self-esteem. Her magic wand . . . is a credit card—which she must use to defeat a terrifying threat that isn’t a monster or an intergalactic war. It’s global climate change. Because magical girls need to think about sustainability, too.

Park Seolyeon reimagines classic fantasy tropes in a novel that explores real-world challenges that are both deeply personal and universal: the search for meaning and the desire to do good in a world that feels like it’s ending. A fun, fast-paced, and enchanting narrative that sparkles thanks to award-nominated Anton Hur, A Magical Girl Retires reminds us that we are all magical girls—that fighting evil by moonlight and winning love by daylight can be anyone’s game.

Six Crimson Cranes by Elizabeth Lim

Shiori’anma, the only princess of Kiata, has a secret. Forbidden magic runs through her veins. Normally she conceals it well, but on the morning of her betrothal ceremony, Shiori loses control. At first, her mistake seems like a stroke of luck, forestalling the wedding she never wanted. But it also catches the attention of Raikama, her stepmother.

A sorceress in her own right, Raikama banishes the young princess, turning her brothers into cranes. She warns Shiori that she must speak of it to no one: for with every word that escapes her lips, one of her brothers will die.

Penniless, voiceless, and alone, Shiori searches for her brothers, and uncovers a dark conspiracy to seize the throne. Only Shiori can set the kingdom to rights, but to do so she must place her trust in a paper bird, a mercurial dragon, and the very boy she fought so hard to marry. And she must embrace the magic she’s been taught all her life to forswear—no matter what the cost.

The Sunbearer Trials by Aiden Thomas

“Only the most powerful and honorable semidioses get chosen. I’m just a Jade. I’m not a real hero.”

As each new decade begins, the Sun’s power must be replenished so that Sol can keep traveling along the sky and keep the chaotic Obsidian gods at bay. Sol selects ten of the most worthy semidioses to compete in the Sunbearer Trials. The winner carriers light and life to all the temples of Reino del Sol, but the loser has the greatest honor of all—they will be sacrificed to Sol, their body melted down to refuel the Sun Stones, protecting the world for another ten years.

Teo, a seventeen-year-old Jade semidiós and the trans son of the goddess of birds, isn’t worried about the Trials . . . at least, not for himself. His best friend, Niya is a Gold semidiós and a shoo-in for the Trials, and while he trusts her abilities, the odds of becoming the sacrifice is one-in-ten.

But then, for the first time in over a century, the impossible happens. Sol chooses not one, but two Jade competitors. Teo, and Xio, the thirteen-year-old child of the god of bad luck. Now they must compete in five trials against Gold opponents who are more powerful and better trained. Worst of all, Teo’s annoyingly handsome ex-best friend and famous semidiós Hero, Aurelio is favored to win. Teo is determined to get himself and his friends through the trials unscathed—for fame, glory, and their own survival.

The Lost Apothecary by Sarah Penner

A forgotten history. A secret network of women. A legacy of poison and revenge. Welcome to the Lost Apothecary…

Hidden in the depths of eighteenth-century London, a secret apothecary shop caters to an unusual kind of clientele. Women across the city whisper of a mysterious figure named Nella who sells well-disguised poisons to use against the oppressive men in their lives. But the apothecary’s fate is jeopardized when her newest patron, a precocious twelve-year-old, makes a fatal mistake, sparking a string of consequences that echo through the centuries.

Meanwhile in present-day London, aspiring historian Carline Parcewell spends her tenth wedding anniversary alone, running from her own demons. When she stumbles upon a clue to the unsolved apothecary murders that haunted London two hundred years ago, her life collides with the apothecary’s in a stunning twist of fate—and not everyone will survive.

Vermilion by Molly Tanzer

Gunslinging, chain smoking, Stetson-wearing Taoist psychopomp, Elouise “Lou” Merriwether might not be a normal 19-year-old, but she’s too busy keeping San Francisco safe from ghosts, shades, and geung si to care much about that. It’s an important job, though most folks consider it downright spooky. Some have even accused Lou of being more comfortable with the dead than the living, and, well… they’re not wrong. When Lou hears that a bunch of Chinatown boys have gone missing somewhere deep in the Colorado Rockies she decides to saddle up and head into the wilderness to investigate. Lou fears her particular talents make her better suited to help placate their spirits than ensure they get home alive, but it’s the right thing to do, and she’s the only one willing to do it. On the road to a mysterious sanatorium known as Fountain of Youth, Lou will encounter bears, desperate men, a very undead villain, and even stranger challenges. Lou will need every one of her talents and a whole lot of luck to make it home alive…

[captainlordauditor]

Okay I know it was my brain worm to start b u t, 5 things that would happen in the Bruce Wayne in Thedas AU

you can't just SHOVE THE WORK OFF ONTO ME-

context for those not on One Specific Discord: the Brain Worms are, an AU where Bruce lands in Thedas and becomes the Warden, then Dick lands and becomes the Inquisitor

Sleeping with Morrigan is a strategic choice; it is not a romance, and the Bat allows himself no pleasure in a time of total war.

Dick (spy by any other name) and Leliana (spymaster) have a hell of a lot of staring contests with each other at the war table. eyebrows are raised. smug smiles are given. conversations that make no sense to anyone else are had. (this isn't about Bruce; we'll get there in a moment)

Leliana looks at Chiriklo Tanzer who claims to be a traveling tumbler and knife thrower and she is, perhaps, a little reminded of another friend she had... someone else whose story didn't quite add up, who despised killing... she'd had no idea that elves had family crests, but perhaps it was his half-bloodedness that made him so insistent on carrying it with him everywhere, painting it onto every shield he carried until it broke, sewing it onto the tabard he wore

"It came from my father's family," he'd said once, which made it even stranger, because wasn't his father the human parent? Wealthy herbalists and apothecaries, no magical blood, but respected healers with no titles? ("They might've done, if I'd had siblings," Boaz had said, "he had the money and respect to buy one.") (Boaz Kahn, which was not like a Fereldan name or an elven name she'd heard; but she had no reason to think about why it might be assumed)

Chiriklo Tanzer has far, far too much knowledge of diplomacy and armies and war for a poor tumbler, whose skill in combat well belies his joke that usually his job is to not hit people with knives, and it is this skill with diplomacy and his quick grasp of politics - despite a baffling lack of knowledge on his arrival - that leads him to suggest that the Inquisition wear masks in the shape of his family crest to Halamshiral, to show their allegiance to him.

it is not very long after that - far, far less time than it should have been - less time than it took to gather the mages from Redcliffe to Haven - a man appears at the gates of Tarasyl'an Te'las in a cloak and more black clothes than their wear says he should be able to afford, and he removes his bizarrely shaped helmet to reveal a face weathered by ten years of sun and Taint. "I am the Black Warden, called Dark Knight and Hero of Ferelden," he says, "and I am here to see my children."

[rvgtimes]

Ex-Macquarie funds manager banned

The Australian Securities and Investments Commission (ASIC) revealed that in early 2011 Timothy Hornibrook, along with some members of the MAFM sales team conceived the concept of a fake family office, named the Brook Family Office (BFO), that was used to extract confidential information from competitors in the agricultural investment sector.

"Between May 2011 and March 2013, the sales team used two BFO email addresses to send emails to at least nine competitor fund managers based in Australia and overseas, all of which were known by the sales team to be direct competitors of MAFML," ASIC said.

"The emails purported to come from the BFO and contained a ‘request for information' document containing a list of questions, which sought information from MAFM's competitors such as company background, investment process, fund performance and fees.

"The sales team intended to use the information obtained by the BFO in order to give MAFML and/or MCP a commercial advantage against its competitors."

ASIC found that Hornibrook had breached his duties as an officer of a responsible entity of a registered managed investment scheme by:

Failing to act honestly;

Misusing the information he acquired as a director of MAFML in order to gain an improper advantage for himself, MAFML and/or Macquarie Crop Partners LP (MCP); and

Misusing his position as director of MAFML to gain an advantage for MAFML and/or MCP.

ASIC Commissioner Greg Tanzer said that "The deceptive conduct of Mr Hornibrook was not inadvertent nor was it the result of a momentary lapse".

"It was committed over a number of years and was intended to gain an advantage for himself and the Macquarie business for which he was responsible," Tanzer said.

Felicia Moore

[asianews24]

Australian Regulator Issues New Lengthy Ban

The former director and responsible manager of a Macquarie subsidiary has been penalised from providing financial services for a period of six years.

The Australian Securities and Investments Commission has banned Timothy Hornibrook finding that he had breached his duties as an officer of a responsible entity of a registered managed investment scheme.

Hornibrook, formerly a director and responsible manager of Australian financial services licensee, Macquarie Agricultural Funds Management (MAFML), was banned after ASIC found that he contravened financial services laws whilst he was a director and responsible manager.

Bogus Family Office

In early 2011, Timothy Hornibrook, a former co-Head and Head of Macquarie Agricultural Funds Management (MAFM), along with some members of the MAFM sales team conceived the concept of a fake family office, named the Brook Family Office (BFO).

The sales team then used two email addresses for the BFO to extract confidential information from MAFML's competitors in the agricultural investment sector on the pretence that it was assessing potential investment opportunities for its funds under management.

ASIC found that Hornibrook had breached his duties as an officer of a responsible entity of a registered managed investment scheme by

failing to act honestly,

misusing the information he acquired as a director of MAFML in order to gain an improper advantage for himself, MAFML and/or Macquarie Crop Partners LP (MCP)

misusing his position as director of MAFML to gain an advantage for MAFML and/or MCP.

Gaining an Advantage

The ASIC delegate said Hornibrook's conduct was 'extremely serious, that he was in a position of responsibility and that general deterrence is an important factor in this case.'

«The deceptive conduct of Hornibrook was not inadvertent nor was it the result of a momentary lapse. It was committed over a number of years and was intended to gain an advantage for himself and the Macquarie business for which he was responsible,» said ASIC Commissioner Greg Tanzer.

Hornibrook has the right to appeal to the Administrative Appeals Tribunal for a review of ASIC's decision.

[vmnows]

Ex-Macquarie funds manager banned

The Australian Securities and Investments Commission (ASIC) revealed that in early 2011 Timothy Hornibrook, along with some members of the MAFM sales team conceived the concept of a fake family office, named the Brook Family Office (BFO), that was used to extract confidential information from competitors in the agricultural investment sector.

"Between May 2011 and March 2013, the sales team used two BFO email addresses to send emails to at least nine competitor fund managers based in Australia and overseas, all of which were known by the sales team to be direct competitors of MAFML," ASIC said.

"The emails purported to come from the BFO and contained a ‘request for information' document containing a list of questions, which sought information from MAFM's competitors such as company background, investment process, fund performance and fees.

"The sales team intended to use the information obtained by the BFO in order to give MAFML and/or MCP a commercial advantage against its competitors."

ASIC found that Hornibrook had breached his duties as an officer of a responsible entity of a registered managed investment scheme by:

Failing to act honestly;

Misusing the information he acquired as a director of MAFML in order to gain an improper advantage for himself, MAFML and/or Macquarie Crop Partners LP (MCP); and

Misusing his position as director of MAFML to gain an advantage for MAFML and/or MCP.

ASIC Commissioner Greg Tanzer said that "The deceptive conduct of Mr Hornibrook was not inadvertent nor was it the result of a momentary lapse".

"It was committed over a number of years and was intended to gain an advantage for himself and the Macquarie business for which he was responsible," Tanzer said.

Dennis Ward

[asic24]

ASIC bans former director and responsible manager of Macquarie subsidiary

The former director and responsible manager of a Macquarie subsidiary has been penalised from providing financial services for a period of six years.

The Australian Securities and Investments Commission has banned Timothy Hornibrook finding that he had breached his duties as an officer of a responsible entity of a registered managed investment scheme.

Hornibrook, formerly a director and responsible manager of Australian financial services licensee, Macquarie Agricultural Funds Management (MAFML), was banned after ASIC found that he contravened financial services laws whilst he was a director and responsible manager.

Bogus Family Office

In early 2011, Timothy Hornibrook, a former co-Head and Head of Macquarie Agricultural Funds Management (MAFM), along with some members of the MAFM sales team conceived the concept of a fake family office, named the Brook Family Office (BFO).

The sales team then used two email addresses for the BFO to extract confidential information from MAFML's competitors in the agricultural investment sector on the pretence that it was assessing potential investment opportunities for its funds under management.

ASIC found that Hornibrook had breached his duties as an officer of a responsible entity of a registered managed investment scheme by

failing to act honestly,

misusing the information he acquired as a director of MAFML in order to gain an improper advantage for himself, MAFML and/or Macquarie Crop Partners LP (MCP)

misusing his position as director of MAFML to gain an advantage for MAFML and/or MCP.

Gaining an Advantage

The ASIC delegate said Hornibrook's conduct was 'extremely serious, that he was in a position of responsibility and that general deterrence is an important factor in this case.'

«The deceptive conduct of Hornibrook was not inadvertent nor was it the result of a momentary lapse. It was committed over a number of years and was intended to gain an advantage for himself and the Macquarie business for which he was responsible,» said ASIC Commissioner Greg Tanzer.

Hornibrook has the right to appeal to the Administrative Appeals Tribunal for a review of ASIC's decision.

[brttnow]

Ex-Macquarie funds manager banned

The Australian Securities and Investments Commission (ASIC) revealed that in early 2011 Timothy Hornibrook, along with some members of the MAFM sales team conceived the concept of a fake family office, named the Brook Family Office (BFO), that was used to extract confidential information from competitors in the agricultural investment sector.

"Between May 2011 and March 2013, the sales team used two BFO email addresses to send emails to at least nine competitor fund managers based in Australia and overseas, all of which were known by the sales team to be direct competitors of MAFML," ASIC said.

"The emails purported to come from the BFO and contained a ‘request for information' document containing a list of questions, which sought information from MAFM's competitors such as company background, investment process, fund performance and fees.

"The sales team intended to use the information obtained by the BFO in order to give MAFML and/or MCP a commercial advantage against its competitors."

ASIC found that Hornibrook had breached his duties as an officer of a responsible entity of a registered managed investment scheme by:

Failing to act honestly;

Misusing the information he acquired as a director of MAFML in order to gain an improper advantage for himself, MAFML and/or Macquarie Crop Partners LP (MCP); and

Misusing his position as director of MAFML to gain an advantage for MAFML and/or MCP.

ASIC Commissioner Greg Tanzer said that "The deceptive conduct of Mr Hornibrook was not inadvertent nor was it the result of a momentary lapse".

"It was committed over a number of years and was intended to gain an advantage for himself and the Macquarie business for which he was responsible," Tanzer said.

Robin Berry

[expressnews]

Ex-Macquarie funds manager banned

The Australian Securities and Investments Commission (ASIC) revealed that in early 2011 Timothy Hornibrook, along with some members of the MAFM sales team conceived the concept of a fake family office, named the Brook Family Office (BFO), that was used to extract confidential information from competitors in the agricultural investment sector.

"Between May 2011 and March 2013, the sales team used two BFO email addresses to send emails to at least nine competitor fund managers based in Australia and overseas, all of which were known by the sales team to be direct competitors of MAFML," ASIC said.

"The emails purported to come from the BFO and contained a ‘request for information' document containing a list of questions, which sought information from MAFM's competitors such as company background, investment process, fund performance and fees.

"The sales team intended to use the information obtained by the BFO in order to give MAFML and/or MCP a commercial advantage against its competitors."

ASIC found that Hornibrook had breached his duties as an officer of a responsible entity of a registered managed investment scheme by:

Failing to act honestly;

Misusing the information he acquired as a director of MAFML in order to gain an improper advantage for himself, MAFML and/or Macquarie Crop Partners LP (MCP); and

Misusing his position as director of MAFML to gain an advantage for MAFML and/or MCP.

ASIC Commissioner Greg Tanzer said that "The deceptive conduct of Mr Hornibrook was not inadvertent nor was it the result of a momentary lapse".

"It was committed over a number of years and was intended to gain an advantage for himself and the Macquarie business for which he was responsible," Tanzer said.

Keith Smith

[tallmantall]

By: Carole Tanzer Miller - When a parent dies by suicide, an adult child's risk of self-harm and suicide rises at the same age - The finding is from a new study out of Denmark - Researchers say health care providers should ask patients about family suicide history and consider this risk #James Donaldson notes:Welcome to the “next chapter” of my life… being a voice and an advocate for #mentalhealthawarenessandsuicideprevention, especially pertaining to our younger generation of students and student-athletes.Getting men to speak up and reach out for help and assistance is one of my passions. Us men need to not suffer in silence or drown our sorrows in alcohol, hang out at bars and strip joints, or get involved with drug use.Having gone through a recent bout of #depression and #suicidalthoughts myself, I realize now, that I can make a huge difference in the lives of so many by sharing my story, and by sharing various resources I come across as I work in this space.  #http://bit.ly/JamesMentalHealthArticleFind out more about the work I do on my 501c3 non-profit foundationwebsite www.yourgiftoflife.org Order your copy of James Donaldson's latest book,#CelebratingYourGiftofLife: From The Verge of Suicide to a Life of Purpose and Joy www.celebratingyourgiftoflife.com Link for 40 Habits Signupbit.ly/40HabitsofMentalHealth If you'd like to follow and receive my daily blog in to your inbox, just click on it with Follow It. Here's the link https://follow.it/james-donaldson-s-standing-above-the-crowd-s-blog-a-view-from-above-on-things-that-make-the-world-go-round?action=followPub MONDAY, Nov. 25, 2024 (HealthDay News) -- When people whose parents died by suicide reach that same age, their own risk often spikes, Danish researchers warn. Reporting in the journal Suicide and Life-Threatening Behaviors, the researchers looked at data on more than 470,000 Danes whose parents died between 1980 and 2016. Of those, 17,806 individuals had parents who died by suicide. The study looked at the risk of self-harm and suicide during the year before and after individuals reached the age of their deceased parent — typically about 24 years later. Compared to the 15 years before or after, they were at roughly twice the risk of self-harm or suicide when they reached the corresponding age. Individuals whose parent died of other causes had no increased risk during the corresponding time. "Our findings support the practice of asking suicide-bereaved individuals about age at parental suicide, identifying this as an anticipated period of increased risk," wrote a team led by Yanakan Logeswaran, of the University College of London.  "This is also an opportunity to reinforce that suicide is not inevitable after the suicide of a parent, with an absolute risk … estimated at less than 1%," they added in a American Psychiatric Association news release. More information If you have suicidal thoughts, free, confidential help is available 24/7. Call or text to 988 to reach the Suicide & Crisis Lifeline. Or chat with a counselor online. SOURCE: American Psychiatric Association, news release Read the full article

[qnewsau]

Melbourne Queer Film Festival announces Jury Award Winners 

New Post has been published on https://qnews.com.au/melbourne-queer-film-festival-announces-jury-award-winners/

Melbourne Queer Film Festival announces Jury Award Winners 

The winners of the 2024 Melbourne Queer Film Festival Awards have been revealed, closing out the festival for another year.

The 34th Melbourne Queer Film Festival screened an impressive lineup of diverse LGBTQIA+ cinema across Melbourne.

Before closing the festival for another year, Melbourne Queer Film Festival announced its Jury Award Winners.

“The MQFF Awards are a much-loved opportunity for us to honour and recognise the talent of Australian LGBTQIA+ filmmakers.”

“This year’s finalists were no exception.” MQFF CEO David Martin Harris said.

The Melbourne Queer Film Festival is Australia’s largest and longest-running queer film festival.

The festival showcases the best LGBTQIA+ films from Australia and around the world.

“To all the filmmakers involved in MQFF Awards 2024, thank you,” said City of Melbourne Lord Mayor Nick Reece

“Thank you for sharing your stories – your talent makes our community richer and stronger.”

Melbourne Queer Film Festival’s mission is to educate, entertain, and inspire audiences.

They do this by presenting diverse and inclusive stories that reflect the vibrant, dynamic nature of queer culture.

Continuing to support and nurture queer filmmaking talent, they provide a platform for filmmakers to share their voices and stories with a global audience.

“MQFF 2024 has been yet another tremendous celebration of Melbourne’s LGBTQIA+ communities and diversity in cinema,” said VicScreen CEO Caroline Pitcher

MQFF is supported by City of Melbourne, City of Stonnington, Department of Families, Fairness and Housing, and VicScreen.

This year’s MQFF awards showcase a remarkable array of talent, with a special focus on elevating the voices of emerging Australian filmmakers.

  View this post on Instagram

  A post shared by Melbourne Queer Film Festival (@melbqueerfilmfest)

The winners are…..

City of Melbourne Award for Best Australian Short Film, valued at $5,000, was awarded to Hold Still.

Hold Still by writer-director Emily Dynes explores the complexities of memory and intimacy.

VicScreen Award for Best Director of an Australian Short Film Prize of $2500 was awarded to Le Luo for Outpicker.

Outpicker is an artistic film exploring the connection with other women and the formation of a community while litter-picking.

Shaun Miller Award for Best Australian Documentary Short went to Dance with Pride – A Journey of Identity Through Movement.

Directed by Javier Cataño-Gonzalez, the film captures the powerful journey of LGBTQIA+ dancers using movement to fight for visibility.

Judges’ Special Mention and MQFF Audience Choice Award for Best Short Film ($1,000) was given to Die Bully Die.

Directed by Nathan Lacey and Nick Lacey, it explores what gays might do if they confront a high school bully as an adult.

The MQFF Award for Best First Feature Documentary with a prize of $2500 is This is Ballroom.

By queer Brazilian filmmaker duo Juru and Vitã it uniquely blends voguing culture from Batekoo Dance and Favela Funk Ball styles in Rio.

The MQFF Award for Best First Feature Narrative with a prize of $2500 is National Anthem.

Dylan lives an isolated life in rural New Mexico, and accepts a gig working at a queer ranch a little further out than normal.

The MQFF Award for Best International Short ($1,000) has been awarded to A Bird Called Memory, by director Leonardo Martinelli.

Closing out with a screening of DUINO at ACMI, attendees closed out the festival dancing to tunes by Tanzer.

Picture by Dean Arcuri

Miss out on MQFF? Screen online!

The Melbourne Queer Film Festival cinema sessions may be over.

But the program is still live and available to stream until Sunday 1st December.

The MQFF online program features 13 Feature Films and the entire Shorts Package.

If you are planning on catching up on the 2024 film program all you need to do is purchase a pass.

Film passes are available with significant discounts and savings, and you can make your own popcorn at home!

You can enjoy some award-winning queer cinema solo or opt for the household pass and watch with your mates.

Check out the full online program here.

For the latest LGBTIQA+ Sister Girl and Brother Boy news, entertainment, community stories in Australia, visit qnews.com.au. Check out our latest magazines or find us on Facebook, Twitter, Instagram and YouTube.

[tehuti88-art]

7/12/24: r/SketchDaily theme, "Free Draw Friday." This week's character from my anthro WWII storyline is Irmgard Tanzer. She's the woman who raises the young Inga (Dobermann) and leaves her her savings, which Inga decides to live off of while visiting soldiers in hospital, where she meets her future husband Louis. Irmgard isn't Inga's mother, however, or even her aunt though Inga calls her that; Inga finds out her parents' identities later. There'll be more about her later in my art Tumblr and Toyhou.se.

Regarding her design, she's a red and tan/rust doberman pinscher. This is roughly the Edwardian era, thus the hair.

TUMBLR EDIT: Irmgard is relatively new; she's been around in concept for a bit as "Inga's aunt," but just now got a name, and even more, INGA'S PAST HAS FINALLY OPENED UP. Finally! I took note of it starting to do so last December, but just barely, and it didn't feel "right" yet. A rather forbidding adoptive aunt figure emerged, but little else. Well, at last it started opening up, adoptive aunt is revealed not to be her aunt at all, there's a vague (still rather uncertain) idea of what became of her parents, and she's acquired a last name: Stern. This is still a heavily developing story, so details may change, but...here we go!

Inga's introduction to the main story comes when she appears one day in the military hospital near the end of the Great War, offering to provide comfort to lonely soldiers who have nobody to visit them. Here she meets both Louis Dobermann and Gunter Hesse. Both men fall in love with her; Dobermann speaks up first and proposes, and Inga soon heads home with him, while Hesse remains behind but later becomes a close family friend, helping to raise their daughter Adelina (who, incidentally, calls him "Uncle" although they aren't related). Inga is forced to fake her own death after killing a Nazi intruder in the house and accidentally outing herself as Jewish when her Star of David pendant is revealed; she comes out of hiding near the war's end, her presence helping convince Hesse, now an SS officer, to turn on the SS and help the Dobermanns escape, at the cost of his own life. Dobermann (and Hesse...it's complicated) is killed a year or so later attempting to thwart a remaining Nazi plot; Inga grieves for him deeply, and succumbs to dementia some years later. She and Louis leave behind Adelina and her own two sons, Louis II and Diepold.

Inga's life before she meets Dobermann remains a mystery to Hesse, and Dobermann himself doesn't learn of it until after they're reunited for that brief year or so following the war. She's Jewish, yet admits that she never practiced the faith (when the Jewish Tobias Schäfer comes to live with them, she has to familiarize herself with kosher foods to tell the kitchen staff what to prepare for him, as she's never kept kosher herself); she describes herself as secular, and when explaining why she never told even her own family, she says it simply never seemed like it mattered until then. Her personal knowledge of Judaism is quite minimal. It's obvious she wasn't raised under Jewish principles.

She's also apparently without any family of her own, as she tells both Hesse and Dobermann this; so when Dobermann explains away his decision to remove her body following her "death," before it can be investigated, by claiming he sent it to her extended family at their request, Hesse is confused; Inga never told him about any extended family. He goes along with the story anyway. (Hesse and Inga end up having one big detail in common: They were both orphaned as infants, and ended up wards of the state. Hesse, however, was never adopted...keep reading for Inga's circumstances.)

There's one more odd detail, that Inga never appears to have any job. She just shows up at the hospital and spends all her time visiting the soldiers, never needing to work. She has some other unexplained source of money. So: She's estranged from her own heritage, has no family, and has money yet no job; so what's going on?

Enter Irmgard Tanzer.

Irmgard is a relatively well-off, somewhat elderly spinster in a nice neighborhood at the edge of the city (similar to later suburbs). Nice house with a wrought-iron fence and set of stone steps. Nice greenery along the street. Quiet, low traffic, peaceful. As she leaves her house one day to do her daily things, fussing with her purse and parasol, she hears something nearby. Stops to listen. It sounds like a cat or kitten in distress. She cranes her neck and peers around, determining that the noise is coming from one of the bushes along the fence, right beside her gate; she stoops, a bit painfully due to her age, and carefully parts the leaves. Takes in a breath. There's a baby basket sitting on the ground between the branches, and a tiny baby within, mouth wide, face screwed up, mewing loudly.

"Ah mein Gott, ah mein Gott," Irmgard gasps, grasping the basket and carefully pulling it out. She makes shushing noises the entire time she gently pulls back the blanket around the baby and tries to check if it's all right, though she has no idea what she's doing, she's never raised a child. She can't find any overt injuries or anything; there isn't a covering of dew on the blanket, so it couldn't have been out all night, somebody must have dropped it off relatively recently. She looks up and down the street but nobody strange is in sight. Tucked in the blanket, she finds only three things: a small, worn, stuffed doll; a note; and a gold locket. Irmgard opens the note; it says merely, PLEASE TAKE CARE OF MY INGA. She then opens the locket; within is a tiny photo of a man and woman, and a small gold Star of David.

"Inga," Irmgard murmurs, stares at the photo, then shakes herself out of it, as the baby is still crying. Picks up the basket, abandoning her parasol, and stands up, exclaiming, "Hallo--? Hallo! Help! Help...!" until a few passersby and a policeman finally appear and hurry her way. They ponder over who might have left the baby and why; the policeman offers to take her to the station, though Irmgard insists on going along. She wants to be sure the baby's parents are found and that until then she's kept safe.

Another policeman at the station theorizes that the baby's parents chose Irmgard's neighborhood as it's pretty well off; and as the baby was obviously not left out all night, her parents were likely keeping watch on Irmgard's house for a while, to see when she came and left. They're apparently Jewish--which should narrow down the prospects considerably--and based on the condition of the basket, blanket, and toy, are probably rather poor, though they may have had better days, based on the jewelry and the photo. Inga is examined by a doctor; she's healthy, clean, well cared for, and is hungry but not neglected. Whoever her family is, they clearly loved her.

Irmgard's confusion just grows: "If they love her so much, why then did they abandon her...?" The police guess that her parents may have fallen on hard times and simply couldn't afford to care for her. They'll ask around, see if anyone knows of such a family who recently had a baby, though until then, Inga will be placed in an orphanage. Irmgard frets over this--"You're putting her up for adoption?"--the policeman says that yes, this is what will happen if they can't locate her family. They reassure her they'll do what they can, thank her, and send her on her way.

Irmgard can't get Inga out of her head, however. She waits a few days, heads back to the station, asks after the case. No progress, but they're looking, working hard. She visits the orphanage. Inga is there, wriggling in a crib; the attendant tells her the girl is barely more than a newborn. Irmgard heads home, but as the days go by she grows more restless. Visits the police again a few weeks later. This time they're a bit more curt, a bit less friendly; they're doing their job, no there are no leads, will she please just let them work? She doesn't need to fuss over "some Jew-baby" that isn't even her own. The police's attitude rubs Irmgard the wrong way, and she returns to the orphanage. Is surprised to find Inga still there; she blinks her big brown eyes at Irmgard and wriggles her arms again. Irmgard asks if anyone's shown interest in adopting her. The attendant looks a bit sad; lots of people have shown interest, yet after being told the baby's background, they moved on. "Maybe it's just me," she murmurs, "maybe I'm seeing things that aren't there...yet I wonder if they don't want to adopt her because she's a Jew." She quickly adds that Inga being abandoned might have something to do with it too, or maybe they worry that the parents will return for her. She doesn't know. Could be another reason. Could be anything.

Irmgard, prim, proper, sheltered Irmgard, decides to do something drastic: She'll look for Inga's parents herself. She can't help but suspect the police aren't digging as much as they should. She's unsure of how to proceed--she doesn't have any investigation experience or anything--so she takes the most obvious step, and visits a nearby synagogue, requesting to speak with the rabbi.

Irmgard figures a synagogue is similar to a church in being a place where the local citizens of faith gather, and like a priest, a rabbi might be in the best position to know who lives in the area and what family might have recently had a child. She shows him a copy of the photo. He doesn't recognize the couple, but suggests she try another synagogue: This is an Orthodox congregation, and the woman in the photo isn't wearing a head covering. Irmgard has no idea what any of this means; the rabbi replies that she may have more luck at a Conservative or more liberal synagogue. She thanks him but before she leaves, asks if anyone else has stopped by to inquire about the couple. The rabbi says no, she's the only one. Swallowing down the anger that crowds into her throat, Irmgard thanks him again and departs.

Then steps behind a wall, clenches her fists, and takes a moment to force herself to calm down. She'd suspected as much, but to receive confirmation that the police HAVEN'T EVEN INTERVIEWED THE LOCAL JEWISH CONGREGATIONS just steams her like little else. What have they been doing all this time? Do they just not care? She thinks of adorable little Inga, still lying in the orphanage, no one asking to adopt her, and the police's inaction is more feasible...she takes a few breaths, smooths down her dress and hair, and heads for the other synagogue suggested.

As soon as she shows the little photo to the second rabbi, he exclaims, "Frau Stern! Have you seen her? Do you know where she is...?" "You know her--?" Irmgard asks, to which he replies, "Ja, only in passing I'm afraid, but Frau Stern used to come here regularly with her husband...he died recently, some long illness. It's such a shame...she was with child, you see. Herr Stern was the breadwinner, and she had no way to make money. I know she was worried...she stopped coming to synagogue a while back. I think she just lost her faith. We offered to help her with the baby when it came, but she never asked...I think maybe she felt she had no right to ask for our help, but we would have given it gladly, no matter if she still believed or not. Do you know her? It's been quite a while since she's come around, and I've wondered about her..."

Irmgard says, "Nein, I didn't know her..." and to her surprise, finds herself lying. "I just found this locket, and wished to get it back to her. So...she's a widow? Herr Stern is...?" The rabbi confirms that her husband died some months ago, after being ill for quite a while, and Frau Stern seemed to have no other relatives around. He offers to keep hold of the locket for her, yet Irmgard says she'll keep looking. "Let her know, if you find her," the rabbi says, "we're still here and ready to welcome her with open arms, whether she believes or not." Irmgard promises, turning away a bit quickly as she has to wipe her damp eyes.

She goes to the police with what she's found, though she has to bite her tongue. Indeed, they start to brush her off, until she mentions the name Stern; there's a brief flurry of whispers, and finally they admit that there's a woman who matches Frau Stern's appearance, and was wearing a ring with the name Stern engraved on it, in the morgue. Irmgard is struck mute by this, needing to find her voice to ask what happened to her; drowning, she's told, though upon autopsy, it was found that she was seriously ill, and dying already. It looks like a suicide. "Should...should I go look, to identify her...?" Irmgard asks; the police think the rabbi would be better suited for this, and he's called. He IDs Frau Stern, and sadly asks if he can claim the body to be properly buried: "She shouldn't have been left here so long," he murmurs, and starts signing papers to have her body released into his custody. When left alone with Irmgard for a moment, he pauses as if to be sure no one is around, then whispers to her, "The baby...is it all right?"

Irmgard: *startled* "What...?"

Rabbi: "They said nothing about a dead child. You said nothing about it when you spoke with me. She must have had her baby already. You must know something about it...is it all right?"

Irmgard: "I..." *bites lip*

Rabbi: "It's dead...?" *long silence; gets a knowing look* "It's alive...that's why you came to me."

Irmgard: *silence*

Rabbi: *pause* "You're afraid we want to take it back. Because you've decided you want to keep it."

Irmgard lowers her head, ashamed and embarrassed, yet it's true...upon learning that Inga has no family left to take her, she felt her heart crumple, then fill up with determination that she wouldn't be abandoned again. It feels almost like a sign that Frau Stern left the child right outside her gate. The rabbi is quiet for a moment before murmuring, "I believe it would be best if it were raised in our traditions..." Irmgard's insides shrink "...yet what matters most is it's happy, and loved. You believe you could offer that...?" "I hope I can," Irmgard murmurs back, "I have to at least try." "Then that's what counts," the rabbi says, as the policeman comes back with the news that the morgue will release Frau Stern's body for burial. "I won't try to challenge you for custody," he says to Irmgard, "just promise me you'll love and care for that child with all your heart." "I will," Irmgard says, surprised by her own conviction; the rabbi's eyes grow a little glassy as the table with a sheet covering it is wheeled past, he lets out a breath, nods, and follows them out. Irmgard is left alone with her roiling thoughts.

She heads to the orphanage. Irrationally fearful that she'll arrive to find Inga gone, snatched away from her, yet the attendant smiles and leads her right to the baby's crib. Irmgard is so conflicted; she knows nothing about babies, she's never had any children, she's rather older than most mothers, can she even keep up with a child?--what is she thinking? Is this even feasible? She nearly backs out of her own plan, then remembers the promise she just made to the rabbi, and knows that even more, it's a promise to Frau Stern, who left the child for her to find. Surely she chose Irmgard, out of everyone else on her street, in her neighborhood, for a reason. "May...may I hold her, bitte...?" she asks, and Inga is placed in her arms. Inga blinks her big brown eyes and makes small baby noises. Irmgard's heart feels about to burst. "No one's chosen to adopt her, yet...?" she asks, and the attendant sighs and shakes her head no. "Could...do you think, do you think they would allow me...?" Irmgard tries to ask, falters, sees the look on the attendant's face--"Are--are you saying you're interested?" she asks, sounding incredulous--and loses her nerve. "I'm sorry," she mumbles, lowering her head, ears burning, as Inga coos. "I know it's silly, I'm too old for a child..."

The attendant raises her hands. "Nein--nein!" she says hastily. "Actually...I'd rather been hoping you'd be interested, it's obvious you care for her, more than anyone else I've seen. We prefer our children to go to married couples but she's been here for a while now, and I can put in a good word for you. You can bring any other references you may have, anything helps. Whatever is best for the child, ja...?" Irmgard lifts her head and blinks when Inga grasps her finger; "It looks like she's chosen you," the attendant smiles, and Irmgard knows Inga will be going home with her, no matter what.

She meekly asks the rabbi to vouch for her, expecting nothing, yet he obliges. Inga has no known next of kin to contest the adoption, and although there's no real legality behind it, the fact that Frau Stern abandoned the infant practically outside Irmgard's front gate points toward her consigning the infant into her specific care; the police prefer the case to be wrapped up, so officially declare Frau Stern's death a suicide--widowed, destitute, and dying, likely from the same illness that took her husband, she left Inga to what she hoped was a better life, before taking her own--and the last few wrinkles are ironed out, and Irmgard takes Inga Stern, now Inga Tanzer, home.

She decides against hiring a nanny, although she has more than enough money to do so--she wants to raise the child herself. It's a lot of trial and error though, and she finds herself asking other female acquaintances for advice. She doesn't really have any close friends she can ask; although friendly and polite enough, she's always kept to herself. She expects to be rebuffed, yet most of the mothers she talks to while strolling Inga through the park are willing and happy to help. Irmgard may be naive and sheltered but she learns quickly, and despite a few hiccups early on, she does a decent job raising the girl.

Inga is herself quiet and polite, yet definitely not out of shyness or uncertainty, like Irmgard; indeed, she seems to have a stubborn streak, and although she never throws tantrums or even engages in arguments, she knows how to dig her heels in when she disagrees with something. "Moving you is like moving a mountain!" Irmgard exclaims whenever Inga insists on getting her way. As time goes on, though, Inga realizes she can use other, more effective means to get what she wants; everyone looks at her and sees a sweet, well-behaved, pretty girl, and all she has to do is play along with this impression, and people will do or give her whatever she wants. She doesn't even have to try. Irmgard doesn't fall for this innate charm nearly so much, though she recognizes it, and cautions Inga against using it indiscriminately: "I can't tell you not to, I imagine it'll be useful when you're grown up and on your own, but bitte, be careful that you don't become cruel or heartless. It's the worst thing, to use someone's feelings against them, and treat them like an object. Bitte, promise me you'll never become that person." "I promise, Aunt Irma," Inga replies, and given her honesty with everything else, Irmgard believes she means it.

One thing only looms like a shadow over Irmgard's otherwise loving and open relationship with Inga: Inga's true heritage. Irmgard has no idea how to approach this, so she decides not to approach it at all. She does let Inga know she's not truly related to her by blood--"It hardly matters though, I love you just the same," she insists--but as for Inga's true family, she says she'll tell her when she's older. Once in a while Inga asks, and Irmgard gently puts her off, and that's all. Until one day, the teenaged Inga comes to her with something in her hands. It's Frau Stern's locket. Irmgard's face goes pale, though Inga seems more apologetic than anything.

Inga: "I...I know you wanted me to wait, but...I got to thinking, and it just drove me mad inside, I had to know. Bitte, don't be angry with me."

Irmgard: "I'm not angry, Liebe...just...I don't know what I should tell you. I didn't know your family. They left you for me."

Inga: "What were their names...?"

Irmgard: "Their last name was Stern. This is all I know."

Inga: "Do...do you know why? Why they left me? Did...did they not want me?"

Irmgard: "Nein, nein, this isn't it at all, Liebe! From what I understand they loved you very much! Your...your father was very ill, and...he died, and left your mother alone." *Inga gets a stricken look* "And your mother...she became ill as well...they say she wouldn't have lived long. She didn't have the money to care for you and didn't want to leave you on your own. I...I don't know how or why she chose to leave you at my gate...but I promised myself I'd take the best care of you that I could. I hope I've lived up to that."

Inga: "Why...why didn't you want me to know this until later?"

Irmgard: *eyes tearing up* "I thought...I thought my loving you wouldn't be enough, and you might want to leave me. And then my heart would break."

Irmgard puts her hands to her eyes and starts weeping--"I'm sorry, Liebe, I didn't mean to keep this from you, yet I couldn't bear to lose you"--then feels Inga's hand on her arm, then Inga's arms around her. "I'd never leave," Inga murmurs, "you're all I have in the world." She holds on to Irmgard until her weeping abates; as Irmgard dabs at her wet eyes, she hesitantly adds, "But...Aunt Irma...what does this mean...?" Irmgard lifts her head, and sees that Inga is holding up the Star of David.

Irmgard explains the best she can...which isn't that well. She knows practically nothing about the subject, figuring ignorance was better than involving herself in a world she doesn't belong to. Inga seems confused to learn she's part of this world yet has no knowledge of it; Irmgard asks if she'd be interested in visiting a synagogue, speaking with a rabbi. "Then what...?" Inga asks, to which Irmgard admits, she doesn't know: "That's up to you to decide, Liebe." Inga stares at the necklace for a moment, then closes her hand around it. Despite her earlier words, Irmgard briefly fears she's about to lose her; yet Inga replaces the Star in the locket and closes it. "She wanted me to have it," she murmurs, "so I'll keep it nearby. But she wanted you to have me. This is where I belong."

Inga is in her late teens when Irmgard's health starts failing. She stays by Irmgard's side, first when she's confined to a chair, then to her bed. Irmgard is more heartbroken over her perceived burden on Inga than over the fact that she's almost certainly dying; "I wanted so much to always be there for you, through all your life," she despairs, crushed that Inga is going to be left all alone again. Yet Inga bears this all stoically despite the tears in her own eyes, smoothing Irmgard's hair, bringing her broth to sip, resting her head on her arm. She reassures Irmgard repeatedly that she's not upset with her, either for withholding the details about her parents, or for leaving her so soon; "You've cared for me, given me everything," she murmurs, "just like you promised. Now I'll take care of you."

Irmgard soon after passes away, Inga faithfully at her side. Inga sits a while, wiping at her streaming eyes, clutching Irmgard's still, frail hand. She eventually pulls herself together and goes to the telephone; Irmgard left her a number to get in contact with. She calls it, tells the person on the other end who she is and what's happened; they reply that they'll take care of everything, just sit tight. A doctor arrives, checks Irmgard over, gently tells Inga he'll make sure her body is taken care of and funeral arrangements will be made. Just as he's exiting, another man arrives and introduces himself; he's Irmgard's estate attorney. Irmgard prepared for this moment long ago, not long after bringing Inga into her home; ever cautious, she wanted to be sure Inga would always be secure, and would never have to worry about anything. Inga is surprised to learn that Irmgard has left her entire estate to her, and it includes not just the house and its belongings, but Irmgard's savings. She always lived comfortably, yet rather frugally...Inga learns now that she was actually quite well off, most of her spending going toward Inga's upbringing. And now the rest of her considerable savings belong to Inga.

Inga has no idea what to do with her newfound wealth. She has no desire to travel, plus, there's a war going on even if she did want to. She ponders her options as she walks through the city; she happens to glance up in time to see that the city hospital is nearby. Several patients are sitting outside in their wheelchairs in the sun. While family members are tending to most of them, one or two sit by themselves, with no one but a nurse to check on them. Inga stands gazing at the patients who have no one to come visit them, and thinks back on what Irmgard had told her about her own past, how she'd been in the orphanage, with no one to come choose her. She realizes that, with money, she has all the time in the world. She can be the one who visits the lonely people in the hospitals, the people who have no one. Like Irmgard once did for her, she can let them know that they're seen, that they matter.

Inga seeks out the nearest military hospital, deciding to focus her energy on the wounded troops. Her request to meet isolated soldiers with no family or visitors is met with mild puzzlement; yet she's pointed out to the patients who have no one to come see them. She approaches them one after the other with her disarming smile and hallo; the soldiers are initially perplexed, uncertain why she's there, but soon warm to her visits, opening up and talking with her. They're grateful for any positive attention, and though she eventually has to move on to another hospital, their moods seem greatly improved by her temporary presence. The hospital staff, too, appreciate what she does, and once word spreads, she's allowed in willingly and welcomed by the doctors and nurses.

Inga arrives at a military hospital she hasn't visited yet, greets the staff, asks who she should visit. The nurse tells her about a new patient, an army captain, who just received terrible news; in his absence, his entire family succumbed to the flu. Inga goes to talk to him. Stands at his bedside; when he looks up at her, she greets him, tells him her name, says she's there to provide some company. Then waits for a response. None is forthcoming; he just stares at her. Inga starts to feel a bit disconcerted, fidgets, adds, "If you'd like...?" Wonders if maybe he just wants her to leave him alone.

The wounded soldier lifts a hand and points at his ear, shaking his head. "I can't hear you," he says, a bit too loudly. "The shell blast deafened me."

Inga's eyes go wide; she blushes, gestures for him to wait a moment, hurries back to the nurse. Asks for a pen and pad of paper to communicate with; the nurse apologizes, gives her the requested items, and Inga heads back to the soldier's bedside. Points at herself, writes on the pad, and shows it to him: INGA.

She doesn't have to wait for a response this time. "Louis," the soldier says, and Inga sits down beside him, pen in hand.

[Irmgard Tanzer 2024 [‎Friday, ‎July ‎12, ‎2024, ‏‎12:00:47 AM]]

[otherpplnation]

How to Build a Rewarding Creative Life

A new 'Craftwork' episode, about how to build a rewarding creative life. My guest is Ben Tanzer, author of the novel The Missing, available from 7.13 Books.

Tanzer is an Emmy winner. His work includes the short story collection Upstate, the science fiction novel Orphans and the essay collections Lost in Space and Be Cool. Ben is a storySouth and Pushcart nominee, a finalist for the Annual National Indie Excellence and Eric Hoffer Book Awards, a winner of the Devil's Kitchen Literary Festival Nonfiction Prose Award and a Midwest Book Award. He also received an Honorable Mention at the Chicago Writers Association Book Awards for Traditional Non-Fiction and a Bronze Medal from the Independent Publisher Book Awards. He's written for Hemispheres, Punk Planet, Men’s Health, and The Arrow, AARP’s GenX newsletter. He lives in Chicago with his family. 

***

Otherppl with Brad Listi is a weekly literary podcast featuring in-depth interviews with today's leading writers.

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www.otherppl.com

[silverview]

relistening to floptales adventure 2 (first half) & id forgotten just HOW GOOD tanzer’s character development is. like we’ve seen how full of shame he is and how 👽ated from his own family, the exact people who should be helping him deal….but learning about the traveller, seeing all these people ‘like him’ living happily together …. You can hear the weight being lifted for the first time in his life. he even starts referring to himself as an alien and “we/us”, he even says he wants to go back and visit them again 😭

the best part is that zhubin actively encourages dan to mess with the bell. so you know zhubin knew what a great drama moment it would be for tanzer when he has this happiness snatched away from him. and he’s so ANGRY at luke. oh i love it so much

[dhampiravidi]

call of duty OC (Skadi's MW AU)

template adapted from this:

Main Stats

Name: Sigrid "Skadi" Tanzer

Explanation: Skadi's the Norse goddess of winter and hunting. Sigrid earned her nickname for how cold she appears during missions and for her intimidating nature.

Born: Feb. 14, 1990 in Munich, Germany (age 33 as of 2023)

Gender: Non-Binary (she/her)

Orientation: Pansexual

Race: White

Citizenship: dual; German and Norwegian

Residence: Ålesund, Norway

Affiliations: trained with the FSK, was a trainer for the Jegertroppen (of NORSOF), serves with Task Force 141

Rank: Sergeant

Appearance

FC: Olga Kurylenko's makeup (as Etain in Centurion) + Rhea Ripley (face & body minus the tattoos)

she is a 5'8.5" (1.79 m) female with a fit build, though she has slim hips and muscular thighs. She has a relatively pale complexion, so her dark brown eyes and straight, jet-black hair stand out in stark contrast. Her typical hairstyle is a pixie cut with some growth in the back. Like everyone in the life of a special forces officer, her body is tacked with scars. Skadi's only tattoo is that of a minimalist wolf on her right forearm.

Personality

she’s one of those “hard outside, soft inside” people. Skadi's been bullied by a good number of people, so she has gotten tough over the years, learning to appreciate herself for who she is. She doesn’t trust others easily (assuming that there is always a trick hidden behind acts of kindness), but she does tend to have a soft spot for small children and animals. In fact, while on leave, she often takes injured animals to her home for veterinary care. During her downtime, Skadi also knits and reads about various ancient cultures.

Abilities

Battlefield Prowess: known more for her strength and endurance than her agility or her teamwork; prefers sniper rifles & knives Handedness: Ambidextrous (missing ring finger on left hand) Languages: German, Norwegian, English

Background

After Skadi was born, her mother, Eir, abandoned her daughter with the girl’s father, Theodor, and never returned. So Theodor raised Skadi, his "Wolfsmädchen [wolf girl]", happy to have what turned out to be an intelligent girl who loved learning almost as much as she loved being outside. He'd take her hunting with him when he was older, and she quickly realized that all creatures are in the same struggle to survive. This made her forever reverent when it comes to nature, not to mention just kindhearted in general. Unfortunately, Skadi was bullied about her height and her more reserved attitude, and it became unbearable after her father died in an accident. She went to Norway to find her mother–and found Eir with a family of her own. Long story short, Skadi chose to stay there for the scenery (at least, that's what she tells herself) and ended up getting into wrestling, something her father's family had taught her the basics of since she was fairly young. Wrestling turned into her serving under an "Aunt Frida" in the Norwegian Special Ops, which led to her training members of the all-female Jegertroppen. Somewhere in the middle of all of that, she got a tattoo to memorialize her father, lost her left ring finger, received the call sign "Skadi", and lost respect for a good amount of humanity.