#also seen mars express at the cinema

[patrothestupid]

doodled on da way to home

[rosy-cheekx]

Make A Wish

Book passage:  Elfriede Jelinek, The Piano Teacher

Me? Posting an unprompted fic? 2021 is starting off wild!

AO3 Link here

Summary: Martin knows just how to celebrate Jon’s 35th birthday. It’s soft and beautiful and speaks of a bright future. 

Martin doesn’t know how to shop for Jon. He’s the kind of guy who doesn’t really want trinkets or the little gifts Martin would think to buy for a significant other. (If he does want them, at least, he doesn’t say it.) Things he needs, like clothes, he buys himself, doesn’t wait for an occasion. Overall, Martin would not describe Jon as materialistic.

Books are the exception. Books are always the exception for Jon. While Jon is not materialistic, he is usually sentimental. He keeps things for as long as he can, letting them wear and wear til they’re no longer usable, like his shoes. Especially pictures. Jon never throws away pictures. (Martin knows why and snaps as many Polaroids as he can of his partner, himself, their friends, even their cat, hanging them around the house in tiny frames as reminders.) But his books are in and out of the shelves like they run a bookshop of their own. Martin has heard the stories of his partner’s reading habits as a youth, knows that Jon’s reading habits are challenging, to say the least. Before they’d moved in together, though, he hadn’t realized that every time he was at Jon’s the bookshelves were almost entirely unique to the last visit. New titles, rarely the same authors, with no seeming organization to the assemblance. Martin knows this now, knows that once a fortnight Jon packs up all the books he’s read and takes them to their local charity shop. It’s his little ritual, and the bug-eyed look of confusion Martin had received when he had asked him about it the first time was priceless.

“I just--don’t need them anymore?” He says, like it’s a question. “I’m not going to read them again.”

“Really?” Martin raised his eyebrows in surprise. “I took you to be a bit of a hoarder when it comes to books, if the statements in your office were any indication. And it’s our flat, so they’re our books. What if I want to read them?”

“Please.” Jon scoffs. “That’s entirely different. I don’t enjoy­- well. They’re work, these are not.”

Still, after this, Jon includes Martin in his ritual, giving him synopses from books he thinks Martin might enjoy and adding the Blackwood-Approved books to the other bookshelf. Martin is quite proud of his bookshelf, identical in structure to Jon’s but entirely more organized: books ordered by genre, then by author, with figurines, photos, and plants acting as weights and decor. Jon’s deviates between sparse and overflowing, books stacked however they will fit, with no rhyme or reason to their order.

Martin doesn’t know how to shop for Jon, but he’s learned quickly that Jon isn’t a Things person. Jon is an Experiences person. The moments he treasures are the ones where he and Martin are happy to be in each other’s presence and experiencing new things together. Ice skating, picnics, hiking, cinemas, all the quintessential cheesy dates, the ones he would’ve guessed, way back when, before he knew the real Jon, this Jon, he would have snubbed his nose at.

Jon’s birthday is coming up. He’s turning 35 and is all too self-conscious about the fact. Martin ribs him a little; he’s older by seven months, after all, “you’re making me feel old, Jon!” Their ritual has become to call off work and spend a day together on Jon’s birthday. No gifts, no fanfare, just a day doing an activity Martin has planned. It’s perfect usually, Jon’s delighted smile and bright eyes when he thanks Martin with a kiss is all the satisfaction he needs. But this is 35, it needs to be special. It needs to be perfect.

---

Martin blinks awake to the steady, calming drum of rain on their bedroom window. He pats out blindly for his glasses, haphazardly set on his bedside table, and pushes them on his face, before rolling back onto his side and tucking an arm around Jon’s waist and nuzzling into his neck. “Happy birthday, love,” he murmurs, carding his other hand through Jon’s tangled curls. He smiles softly as he watches his partner; Jon always grumbles that he looks so much older than he is, but when he’s sleeping, Martin swears he looks timeless, a specimen of perfect beauty against the crisp black sheets. Jon shifts in his arms, turning to face him, and squints blearily at Martin. Jon, for all his sleepless nights back at the archives, is not a morning person.

“Hm-mar’in?” he mumbles, irises stained forever green. He clears his throat and scrubs at his eyes. God, he looks just like a cat. “G’mornin’,” he says, a little more comprehensible, voice rough-hewn from sleep.

“Morning, love.” Martin kisses his forehead, between his eyebrows. “Happy birthday,” His nose, cold from a chilly autumn night. “Ready for a good day?” His lips now, soft and warm. Jon sighs underneath him, presses himself into the kiss, slots himself into the Jon-shaped space in Martin’s arms.

When Martin shifts away to sit up, Jon audibly whines, grabbing at Martin’s hand to pull him back. “You’re so warm, don’t go,” he pleads. Martin chuckles and squeezes his hand.

“It’s half nine. You want breakfast, don’t you? We have an agenda to follow, don’t forget.” But Jon shakes his head and tugs again.

“Birthday Ruling,” he cites solemnly, stretching as he says it. (Again, like a cat, the way he arches his back. Is that on purpose? Martin is pretty sure he’s seen Reggie—Her Regency—do the exact same thing.) “By royal decree, you have to stay here until I’m awake enough to help you with breakfast.”

“Well,” Martin chuckles, shaking his head to himself and tucking himself around Jon’s thin form. “I can’t refuse a royal decree, now, can I?”

Breakfast becomes brunch, and once the pair are awake tea, cut fruit, and omelets are prepared and eaten on the couch. Jon being left-handed and Martin right, they sit on their perspective sides so they can hold hands and not inhibit the other from eating.

“So,” Jon prompts, eyeing Martin from his peripheral as he watches him wash dishes. “What are your secret plans? Am I allowed to know yet?”

“Hmm.” Martin considers his question, running a plate through his hands as he dried it, solemn contemplation on his face. “No.”

“Mar-tiiin,” Martin is almost worn down by that plea, a sound he doesn’t think anyone else who has ever met Jonathan Sims could fathom coming from him. A bloom of warmth in his chest; a reminder he will never feel lonely again.

“But I think you’ll figure it out,” he compromises, grinning to himself. His plan had come to him in a sudden realization at work and Martin did think it was some of his best work yet. “Here’s your hint: you may want to bring a canvas.”

Jon’s face is a measured calm. “We’re going shopping?” Martin just shrugs, winking.

-

They take a cab and the rain pounds down on the roof, the repetitive noise a balm against the cold and wet.  Martin really got lucky today; the sound of rain is one of Jon’s favorites. He sighs inwardly as Jon rests his curls, slightly damp from their wait for the cab, on his shoulder and closes his eyes, basking in the warmth of his boyfriend and the pleasant drumming.

Jon’s eyes opened when he felt the cab pull to a stop, and he took their surroundings in with the quick analytical eye of an ex-Archivist. Martin felt his cheeks growing warm with excitement as they stepped out of the cab and paid. The building before them, like most Scottish buildings, was made of uneven stone. There was a little garden, mostly rocks with some shrubbery dotted between, and the pathway, also stone, though a flatter smoother variety, led to the door, which read The Watermill in blue and white lettering. “Martin?” Jon threaded his fingers through Martin’s, eyes wide.

“It’s a bookshop, Jon. It’s got reading nooks, and a café, and I swear I’ll buy you any books you want. We can stay as long as we like. We can read as much as we want.”

Three short squeezes to Martin’s hand. Oh. He was starting to ramble. He returns the answering four. “Martin, love, it sounds perfect. But it’s raining.” Right. A drop of rain rolls down Martin’s nose, and he shivers.  “Let’s get inside.”

Martin is glad he brought a tote, a canvas bag with the name of Jon’s university emblazoned on the sides. He follows Jon through every aisle as Jon analyzes every book like their dogs in show. He scans the titles, covers and authors with precision, sometimes returning them with delicate hands, sometimes reading descriptions or thumbing through the pages, before deciding their worth and either reshelving it or handing it to Martin. Martin is distinctly reminded of being an Archival Assistant, helping Jon prioritize case files, except the expression on Jon’s face isn’t furrowed and grim, it’s near-rapturous awe as he selects and examines the books. There is no evident consistency to the books Jon picks, ranging from YA fiction to historical documentation to travel books of places he knew they’d probably never visit, though he always takes Martin’s suggested reads, nodding dutifully and running his hand down the spine before placing it in the ever-weighing bag on Martin’s arm.

They spend nearly an hour and a half roaming shelves before Jon is satisfied with this first load. Martin is grateful. His shoulder is starting to hurt from the nearly full canvas he’s hoisted on his shoulder. Martin leads his partner to a small corner, something that can only be described as a nook. There’s a small, well-worn sofa, a table with coasters, and a coffee table in front of the sofa. The whole space is cast in warm orange-yellow light, courtesy of the standing lamps, and Martin can imagine this is a great place to curl up and fall asleep.

Curl up they do, Martin sitting with a few books of his own beside him and Jon leaning against Jon’s side, sprawling over the majority of the couch. Martin tucks an arm over Jon’s chest, feeling the slow rise and fall of the space where collarbone meets rib, and they read. They read in silence for most of the morning, Jon flipping through his books at a truly astounding pace (Jon thinks its left over from his Archival Spooky Powers, Martin thinks he’s just a nerd), pausing occasionally to read Martin a line he finds interesting. It’s a yellow paperback now, something about psychopathy, and he begins to read out an interview the author had with a man who claims he should not have been diagnosed as a psychopath.

“D’you think Jonah was a psychopath?” Jon asks, brow furrowed as he reads the qualifying characteristics. “He had the ‘grandiose sense of self-worth’ and ‘cunning/manipulation’ down pat.”

Martin hums, glancing over Jon’s shoulder to read the rest of the Psychopath Test. “Lack of remorse,” he points. “Lack of empathy for sure. Someone with empathy doesn’t implant visions of their dead father into the head of their employee. Speaking of, we should have Melanie and Georgie over soon.” Jon nods against his chest. “I’d call him charming, too, actually,” nudging Jon gently. “Especially with new employees. Remember how he—”

“Called me into his office nonstop and ‘checked in?’ Yeah, I remember.” Jon sighed and smoothed the page down. “Can you call it ‘a parasitic lifestyle’ when your employees are bound under your servitude for eternity or until they die?” Jon scoffs. “I don’t think the DSM is ready for Smirke’s Fourteen.”

“Maybe not. Maybe the sixth edition will be.” Martin presses a kiss to the top of Jon’s head and turns back to his own book.

-

“Hungry?” Martin asks, nudging Jon as his stomach gurgles for the third time in as many minutes. Jon jumps a little, likely having forgotten Martin was there.

“Erm-I mean, a little.” Even after being together for so long, Jon still hesitates to let Martin buy him food. (“Martin, I have money. You don’t- you don’t have to-” but whatever offending muffin or cone of chips would be pressed into his hand and he would thank Martin, sheepish, and take a bite.)

“Chai latte? Something sweet?” Martin asks, nudging Jon out of his side and feeling the cold spot left in his wake. “Its your birthday, come on.” Jon sighs and relents, and Martin swear he can hear him roll his eyes as he walks away.

Martin orders two chais and a few cupcakes (chocolate for Jon, carrot cake for him) from the café in the front of the bookshop and joins an ever-growing queue of patrons waiting to get their own warm treats. The rain must have driven people in in droves. Never mind it, though, their corner feels empty enough. He thinks he sees a spider on the back of a woman’s shirt in front of him, and flinches before realizing, oh, it’s just a bit of string. He takes a slight step back anyways. He didn’t used to do that.

“Order for Martin?” An American voice, uni student probably. He thanks her and makes a point to drop a few quid in the tip jar, seeing it frustratingly empty for such a busy café.  

Martin takes a small porcelain plate in each hand, a mug and pastry balanced on each, and makes his way carefully back to the sofa where he had left Jon. Only, he couldn’t see his curly hair, tied up in his half-bun, over the back of the sofa. Did he go to the loo?

It’s when Martin steps over to the side of the couch to set the plates down that he bursts into laughter. Jon is sprawled in a way that seems completely unconducive to reading: his knees are hooked over the sofa, so his socked feet (shoes neatly deposited next to his hips) are on the cushion itself. His torso is stretched on the warm, well-swept wood floor and his head (and his book) are tucked under the coffee table; arms locked over his head so he can read on his back. It looks ridiculous, he cannot fathom what possessed Jon to sit like this and not on his back on the couch.

Jon hears his laughter and arcs his neck, trying to see Martin’s face. “It was…comfortable?” he tries helplessly, giggling awkwardly. “Oh, piss off,” he sighed, inelegantly worming his way out from under the seat.

“Come on, old man.” Martin grins, handing him the cupcake he’d bought for him, with a single purple candle pressed into it. “Make a wish!”

“It’s not even lit,” Jon protested, cheeks flushing.

“Want me to sing instead? I can.” Martin took a deep breath. “Happy Bir-”

“N-no! Martin, no!” Jon pressed a hand over his mouth, though he was giggling madly at Martin’s wild expression. “I’ll blow it out. Just hush.” He took a deep breath, closed his eyes for a moment, and then let out a breath in a sigh. His eyes were soft, smile to match. “I…I don’t have anything to wish for.”

Martin’s turn to blush. “Just-just shut up and eat your cake,” he mumbled, hiding his smile in a sip of his tea.

-

Maybe its how at-peace he feels, maybe it’s his ADHD (its definitely the ADHD), but Martin has no idea how long he’s been reading. He’s brought out of his reverie, his copy of In Cold Blood almost finished (he’s read it before, but god he loves this book so much), by a low noise he can’t pick out at first. It’s quiet, soothing, its right next to him.

Oh. Oh. It’s Jon. This one, a real compulsion left over from his time as an Archivist, Jon is reading aloud to himself, his voice the sonorous, resonant tone of a man performing for himself. Martin puts his book down carefully, trying not to alert Jon to his awareness, and listens, letting the words wash over him. Jon’s voice has always been able to capture Martin’s attention, even before the Eldritch Spooky Magic that eventually attached itself to it.

“Klemmer stands there, gazing at her.   “Erika doesn’t want a silence to develop, so she utters a platitude. Art is platitudinous for Erika because she lives off art. How much easier it is for the artist, says the woman, to hurl feelings or passions out of himself. When an artist resorts to dramatic devices, which you so greatly esteem, Klemmer, he is simply utilizing bogus methods while neglecting authentic ones. She talks to prevent the eruption of silence. I, as a teacher, favor undramatic art – Schumann, for instance. Drama is always easier! Feelings and passions are always merely a substitute, a surrogate for spirituality. The teacher yearns for an earthquake, for a roaring, raging tempest to pounce upon her. That wild Klemmer is so angry that he almost drills his head into the wall. The clarinet class next door, which he, the owner of a second instrument, has been frequenting twice a week, would certainly be astonished if Klemmer’s angry head suddenly emerged from the wall, next to Beethoven’s death mask. Oh, that Erika, that Erika. She doesn’t sense that he is actually talking about her, and naturally about himself as well! He is connecting Erika and himself in a sensual context, ejecting the spirit, that enemy of the senses, that primal foe of the flesh. She thinks he is referring to Schubert, but he really means himself, just as he always means himself whenever he speaks.   “He suddenly ventures to adopt a familiar tone with Erika; using a formal tone, she advises him to remain objective! Her mouth puckers, willy-nilly, into a wrinkly rosette; she cannot control it. She controls what the mouth says, but she cannot control the way it presents itself to the outside world. She gets goosebumps all over.”

Martin closes his eyes against the words, a shiver running down his spine, starting at the top of his skull. It’s a feeling he gets so rarely now, the feeling of being so absolutely content in the presence of another person that any fog he may have is physically expunged from him. Not that there is any, but it’s a safeguard; a reminder to himself that he is not Lonely anymore and will never be lonely again. It can’t get him, not here, not with Jon sprawled, almost in his lap, reading and sipping tea and letting the only thing they worry about be whether they fed the cat this morning (Jon did, of course, Reggie is not one to let them forget her morning meal).

“Martin?” Jon’s voice cuts through his quiet contemplation. “You alright?” He’s tilting his head back, almost upside down to look at Martin’s face. “I felt you shudder.” Of course, even deep in his trance of this story he had felt Martin shift.

“Of course, sweetheart,” he smiles reassuringly, carding the hair off Jon’s forehead. “I’m not feeling lonely, not even a little bit.” He used to do it a lot in the safehouse, and fog would roll off him in droves. Jon would hold him through it all. “I think it just happens now like part of an immune system, just checking in when I’m feeling emotional.”

“Emotional?” Jon looks a little relieved, but not entirely. He sits up, glancing down at his page number (Martin could never figure out how Jon did that, remembered his page number instead of using a bookmark) and cups Martin’s face gently, searching it. “What’s wrong?”

“Absolutely nothing, Jon, I promise. That was why I was emotional,” he admits, feeling a little sheepish. “It’s just good to feel happy. It feels good to be with you, to be at peace, to not worry about what is going to happen tomorrow and whether we’re going to die.”

Martin blushes, feeling heat spread through his face. It feels good to say it out loud. “Happy birthday, Jon. I love you.”

-

They leave with bags full of books, smiles on their faces and the moon casting a faint light on their backs. Martin falls asleep in the cab on the way home, his head lilting onto Jon’s shoulder. When Jon wakes him up, leading his sleepy partner up the stairs, 

Jon thinks 35 maybe won’t be so bad, after all.

[readingsbylibramc]

birth chart reading for @chaosandstars

hello! welcome to your reading. I’m gonna give you a quick overview of what I’m going to analyze about your natal chart. feel free to ask me anything if something isn’t clear, of course. you’ll find out your dominants’ influence on your persona, your physical appearance, impression on others and the way you approach the world; your ego, identity, the real you; your reactions, your desires, inner emotions; your way of expressing your feelings, your mind and ideas; your desires and approach to love; your energy tank, instincts and temperament; in-depth analysis of each house with their rulers and analysis of heavy aspects; love life + soulmates/karmic partners interpretation; your relationship with your friends; your family life; your approach to career and work in general + possible jobs suggestion; your style, fashion sense analysis; life purpose and past life description; basic transits’ analysis to describe your current mood and, last but not least, your secret skills, how to make the most out of your soul and manifest what you desire based on your birth chart.

🦋 chart shape, dominants

your chart is a locomotive shape. this means that you're a very ambitious person, with a lot of energy. saturn has a big influence on you, and your life revolves around working hard to achieve your goals and growth. the empty part of your chart is what you have to develop, hence your family, financial and love life and also your communication and thinking style.

your dominant planets are mars, jupiter and neptune. you are an assertive and hard-working person, you strive to succeed in what you're passionate about but you also know when to relax. in fact, you're a very artistic person, you probably have an interest in philosophy, art, cinema, poetry... anything that gives you mental stimulation.

your dominant sign is pisces. you're a genuine, caring person who loves daydreaming. it's a sort of way to escape reality, but it gives you an enormous amount of creativity. you also possess a strong intuition, which can make you have a sort of sixth sense.

your dominant element is water. you're very intuitive and empathetic, you care a lot about others, and you may seem like a healer to people you know. in fact, you always try to help them if you can, almost in a therapeutic way. you're also very spiritual, and you're attracted to anything related to discovering your higher self and soul purpose.

🌎 ascendant in pisces, 5° / 1st decan ruled by neptune

you appear as a very genuine and honest person. you have a reassuring aura about you, which could attract people to you. in fact, you seem and sound like a healer, hence broken people may find comfort in you. you’re an hopeless romantic, and this may make you look sort of naive, almost childlike. you feel the need to revolution the world, there’s an hidden rebel in you that needs change and justice. yet, you struggle to take action. it’s like your assertiveness is stuck deep inside of you, and you can’t take it out. hence, you cope with this through escapism; you may oversleep, overwork, drink, daydream, do drugs… anything that allows your mind to travel away from your sense of justice. you always want to be seen likeable, hence you may act differently based on the situation you’re in. you’re kind of a chameleon. in fact, pisces usually adopts some characteristics from all the signs, that’s why it’s considered confusing, or even fake. identity issues are also common with this placement, as you may feel the need to be part of a group, yet you can’t. you’re too complex to be part of only one category, you can’t classify yourself. you may often be, or at least look, sleepy. your eyes have a very dreamy look on them, and they’re probably very big and round. possibly, they’re also hooded. your skin may be naturally pale, or at least there’s something light on your face, even like some tiny sparkles in your eyes. you may also have a naturally good skin, and I’ve noticed that pisces rising people tend to have distinctive hands? for example, you may have long fingers or beautiful, natural long nails.

pisces ascendant square sagittarius pluto: you're aware that the world is too nasty for your honesty, hence you may have trust issues. even though you are friendly, you're very picky about who you decide to actually call your friend. you may constantly feel lonely, as if no one were willing to listen and understand you. you live with the fear that others may take advantage of you, hence you end up doing it yourself, unconsciously. you may be controlling, but your chart hints that it's not too much of a big deal. you may have the tendency to do it sometimes, but it's mostly a bad trait of your past life. the universe is testing you to see if you've learned your lesson or not. you have all the skills to avoid this type of behaviour now that you're aware of it.

🌞 sun in pisces, 20° / 3rd decan ruled by neptune and pluto

this is the most intuitive pisces decan. you understand people’s thoughts just by looking at them, it’s like you’re staring at their souls. in fact, you’re extremely empathetic, you probably find yourself being a psychologist for your friends. or maybe, you’re actually a psychologist. you’re easy-going and you have great social skills; I don’t see you being extremely extroverted, but you don’t mind hanging out with your friends. you’re amazingly creative and imaginative, you have the ability to picture your ideas. this is an amazing talent, in fact most artists have pisces placements. the downside to pisces is that I’ve noticed that, since they know they’re vulnerable, they have the tendency to lie. they don’t do it out of cruelty of course, it’s a sort way to protect their ego. you could want to be seen as bolder than you are, hence you could struggle with identity crisis, especially during your teenage years. you have your own morals and beliefs, but you could feel influenced by others to change yours. luckily, this is something that gets better with time, as you start being more aware of your persona and you start loving yourself. you're most probably a very complex individual. after all, pisces is the most 'confusing' of all the signs. you're a sort of chameleon; you act differently based on where you are and who you're with. you could be a savage with someone, an introvert with someone else. you may even feel as if there's something wrong with your mind, as you just wish you could be like others. you should focus more on pisces' positive traits, though; you're extremely compassionate and considerate. you're emotionally intelligent, and this mutability of yours could make you succeed at many different jobs in your life, as it's very easy for you to adapt to and master new things, especially with your mutable dominance. if you work hard, you can surely succeed in anything you want.

pisces sun square sagittarius moon: with this aspect, what you need and what you want tend to clash. in your case, your sagittarius moon wants to be in the spotlight, you want to be sociable and have fun. you want to go out often and live life to the fullest, while your pisces sun is more private, it prefers being alone. as a result, you may come off as unpredictable and / or indecisive. you could struggle with being optimistic, as you have this inner turmoil in you that makes you struggle to attract positive situations in your life. you may often feel conflicted, as if you didn't have control over your emotions. you may have unstable self-esteem, one day you could be feeling extra confident and happy with yourself and then the next day you feel very insecure, you want to change everything about your persona. you could feel unwanted, or perhaps you actually used to feel unwanted during your childhood, perhaps by your parents, relatives or even by other children at school. you're basically a walking paradox, you want both intimacy and independence, stability and flexibility.

🌙 moon in sagittarius, 29° / 3rd decan ruled by jupiter and the sun

you're an outgoing and warm person, who always tries to make others feel at ease. I assume you try to be nice to everyone, but you can't help but be a little awkward around people you don't know. with your sagittarius moon, you go with the flow and don't shy away from challenges. they're moments to prove your potential and abilities. you are an extremely open-minded person, you rarely judge a book by its cover. you probably despise racism, homophobia, misogyny etc. with a passion (as you should tbh). you may also be into poetry, philosophy, and just anything that can stimulate both your mind and feelings. in fact, your mind is constantly wandering somewhere else, allowing you to travel with your fantasy. you're also probably attracted to foreign things, like people, music, fashion, languages, movies etc. you love learning about anything, and you may also have a good memory. in fact, it’s common for you to be the one who explains things and possibly even leads a group, and this could unluckily make you seem as a know-it-all. you do take pride in your wisdom, indeed. your deep way of thinking is also where your desire for freedom comes from, as you wish to be able to expand yourself through travelling and new experiences. when you get angry, you can actually get very rude and offensive, even towards authorities. you’re short-tempered, and you despise being told what to do. you’re also a good, loyal friend, and you’re the type to stand up for them and defend them during a fight. you’re friendly, especially with people you feel comfortable with, and you probably love talking. you’re able to put a smile on others’ face just by telling your stories, even though you never truly go in-depth. you're quite optimistic, as you see good in everyone. yet, while this is a good trait that allows you to be more at ease in relationships, you may also be fooled easily due to your blind optimism.

sagittarius moon square aries mercury: your thoughts and feelings are constantly in contrast with each other. this results in indecisiveness, you change your mind pretty often, and that can cause you conflicts due to communication problems. you're also pretty opinionated, you don't hide your feelings when you act by impulse, even though you may feel guilty about it: you are very sensitive, you want to treat people well, but you could be impulsive or sarcastic and hurt people. at least, the positive side of this placement is that you're probably very intellectual, capable of taking in consideration both the subjective and objective side of an argument.

sagittarius moon square aries jupiter: you enjoy making different experiences and living your life to the fullest, making you also a risk-taker. you may lack self-control. with this trait you get bored easily, and you may have a reputation for being flaky. you tend to overindulge; you may spend too much money, or even develop eating disorders like binge-eating. at least, you're able to build your life again and have a fresh start, but you risk to get stuck in this cycle. you have the potential to master different talents, but you may struggle to develop them due to this placement. you're a procrastinator, and you find it hard to focus on more things at the same time. you may also attract people with different beliefs and ideas from you, causing you to fall out with them easily. there are also positive sides to this placement, though! you're probably naturally lucky, even though luck may not always be by your side. you have a nice sense of humor, making you more likeable.

🗣 mercury in aries, 4° / 1st decan ruled by mars

you are a fast-thinker, even though that doesn't mean you always take the right choices. in fact, you can change your mind very often. you probably have a beautiful, melodic voice, even though it's likely very loud. you also speak as fast as you think, making it hard sometimes to keep up with you in a speech. you could also switch from a topic to another casually. you don't really enjoy thinking about the past nor the future, you only care about the present and you live it they way you feel; hence, you're not really the type to care about learning from your mistakes. you always see the positive side of them, which can be both good and bad actually. that's because you're quite stubborn, it's hard to make you change your mind. you're very straight-forward, and that could lead you to conflicts as you don't understand the impact your words have on others.

aries mercury conjunct aries jupiter: you say things impulsively, you're bluntly honest, and this could often hurt people around you. in addition, you like having the last word, despite being proven wrong sometimes. you have a knack for wisdom, you love being and looking smart. you're the type to spend the whole day reading and analyzing philosophical quotes and then make them your own, applying them to your life. you want to be and feel experienced, hence you may inform yourself about a variety of topics just for the sake of knowing them, perhaps you're not even that much interested in them. you could go from talking about politics to astrology, your mind is quite messy but still very full. you may possibly have a youthful voice, and sometimes you can speak in a loud volume without even realizing it. you may also exaggerate your words a lot, for example you might have got a single scratch on your cheek and call it a gash. you could possibly also be the type to joke over your own feelings, and then obviously get mad at others when they do the same with you. your mercury is also retrograde, hence you're not much talkative, you're more on the introspective side. you may have troubles communicating your thoughts clearly, or maybe you're the one who may misunderstand/mishear what others say to you.

❤️ venus in aries, 21° / 3rd decan ruled by mars and venus

with venus in aries, loving you is an adventure. you enjoy fun, exciting relationships. you're the type who's looking for a risktaker, even dangerous partner. you hate boredom, and this may be your weakness regarding this placement; that is, once the relationship starts getting more serious, you feel as if it's going down, when it's actually the opposite. hence, you just run towards a new adventure. this placement may even give you the reputation of being a player, but I don't think it's your case based on your others placements. you have to understand that relationships can get boring, but that's not necessarily a red flag. it just means you two are starting to feel comfortable together. you also enjoy physical contact, therefore cold partners are a no no for you. you need someone who's affectionate yet bold, and that would spoil you with attention and gifts. you enjoy the little things about love, such as remembering your anniversary or even giving you small presents, especially if they're homemade (like breakfast, poems etc.). you also try to avoid flaky people, as you don't like making relationships seem too light.

aries venus conjunct taurus saturn: you seem like the type of person who's not totally into the idea of love and relationships, especially in your early years. you find your individuality way more important, and you feel the need to establish your status in the world. yet, there's still a place in your heart that desires love, but it's quite hidden. maybe, you're actually afraid of falling in love; or perhaps, it's the opposite: your risk-taker aries energy made you jump into relationships, even if they weren't actually your priority. it may be hard for you to fall for someone, but once you do, you're totally invested in them. you're quite of a traditionalist when it comes to love; you may the type that prefers being courted, rather than court yourself. you're also quite into clichés, and you're looking for a polite and ambitious partner. someone who has a stable job, and is also wealthy. basically, someone that looks (and possibly is) rich and noble. you may also have the tendency to date people that are older than you, and possibly also soulmates from your past lives. in fact, you attract many karmic partners that are here to teach you lessons. your relationships may be quite painful, or at least they're so intense that they are hard to forget. with this placement, it's also recommended to get married after your saturn return, hence after your 28-29 years old, to avoid any kind of challenges.

☄️ mars in scorpio, 11° / 2nd decan ruled by pluto and neptune

you’re an extremely goal-oriented person. you want to be the best at everything you do, not only to be better than others but also the best for yourself. you’re very astute, it’s impossible to trick you, and you always find a way to be in charge and get what you want. yet, you can get quite obsessed about your goals, that you could do extreme things to get what you want. in fact, people with this placement can even manipulate others, as they’re totally capable of doing that. people are naturally attracted to you, you have a way with words, and hence you’re always able to convince others into giving you what you want. but luckily, this doesn’t turn into manipulation, you probably don’t even realize this skill of yours, and hence you don’t use it to damage others. you are very persuasive, but you don't do it on purpose, you could actually be a little naive. when you get angry, you could actually get scary, though. your emotions are very intense, it’s hard to calm you down. you may be very sarcastic and aggressive with your words. you could hurt people, but you don’t do it on purpose. most of the time, you don’t even mean the things you say. you may also vent your anger with physical action, hence you could slam doors, punch or break things etc.

🏡 houses

your 1st house is in pisces. the sun, mercury, jupiter, venus and saturn are also placed in this house. you are like a chameleon, you're able to detect others' vibe and act in a pleasant way for them, you probably get along with strangers easily. you're very sensitive, but also slightly insecure. in your first years, I assume you had trouble embracing your appearance. you may have felt ashamed of it, and you self-esteem was low. yet, thanks to jupiter and the sun also being in this house, as time goes by you become more and more confident in yourself. it's a long and difficult journey, but it's a part of your karma and you're dealing with it during this lifetime. you may have amazing artistic talents and a large imagination. yet, you may often live too much in your imagination. people may see you as very secretive and spiritual, maybe also mysterious. you may also seem very distracted, perhaps even constantly sleepy. you have a poweful, yet soothing vibe around you, and you may also have a sixth sense or acute intuition. with venus in this house that makes you probably very attractive, you care about your appearance and therefore you can have the tendency to get insecure when you don't look the way you want. yet, you also come off as a very friendly and approachable person, people enjoy your company.

your 2nd house is in taurus. you have the ability to recognize value in everything you see and own, from material things to relationships. on a downside, this could make you a bit too materialistic. venus, the ruler of this house, is in the 1st house; your confidence may depend too much on your material possessions (clothes, shoes etc.), finances or on your love life. you like spending money for your appearance, as you enjoy taking care of your looks. you may also earn money with your appearance, therefore you could become a model or some sort of television or internet figure. this placement also indicates that your life will revolve around finances, and possibly you'll get particularly wealthy thanks to your job.

your 3rd house is in gemini. you adore communicating and getting to know new people. you enjoy learning new things, and you're probably skilled at a variety of things thanks to this placement. you may have the tendency to procrastinate, though, so be careful about that. you are extremely intelligent and astute. when you were younger, you probably used to be the winner at games like hide-and-seek. this placement also enhances your thirst for knowledge of any kind, you want to learn at least a little about anything, from science to foreign cultures. yet, since you want to learn so many things all at once, you may lack precision and be a little bit superficial. on the other hand, you're a fast learner. you may often find people predictable, but in reality you're just ahead of them.

your 4th house is in gemini. you’ve always been a smart kid, that’s probably what your childhood revolved around. you most likely were a diligent student, and your parents took a lot of pride in your marks. you might have been really chatty with your friends, and maybe you used to get scolded because of that. your parents could have been a bit too strict with you, and that limits you from truly embracing your real soul purpose. you may start understanding who you want to be in life only when you're able to detach from your childhood and house, growing up. I don't see any serious trauma in your childhood, aside from a conflicting relationship with your parents or with people at school, for instance. it could also be that you were bullied when you were younger.

your 5th house is in cancer. when it comes to light romance, you mainly look for someone caring and affectionate who can help you to grow up and make new experiences. you’re attracted to hobbies that let you express your feelings and emotions. e.g, you may create very personal art or poetry. you may also prefer spending your spare time by yourself at home rather than going out with your friends. it's your way of relaxing and expressing your feelings, you may have hobbies that meet your emotional needs. also, you're probably extremely creative, and you may be talented at a different variety of things. you most likely have many hobbies, and you could actually struggle to keep up with all of them.

your 6th house is in cancer. you may find yourself often having diseases around the stomach, breast area. your periods may be quite painful, too. this placement also indicates that there might be someone in your family that works in the health field, hence there could be a surgeon, a nurse, a therapist, a nutriotionist, a vet, etc. you may choose a career that allows you to work from home as well, or perhaps you may work with children, families or houses in general. also, you may find a job in a foreign place from your birth place, or perhaps you have to speak another language during your daily life / job. also, you could work in the school environment, or in general you can be a counselor of any sort, even a personal trainer for example.

your 7th house is in virgo. when it comes to love you’re quite picky, and you want your future spouse to match your definition of perfection. hence, you may start losing interest in them as soon as they commit a mistake, even if it’s not serious. because of that, you may often experience break-ups, or even separation/divorce, even though I don't think it's your case. your life revolves around love, and as your pisces sun confirms, you need to feel tied to someone to function at your best. you want everybody to like you, you fear rejection and being humiliated. your reputation is very important for you, and that could lead you to be extremely insecure when others judge you negatively, you're easy to influence.

your 8th house is in scorpio, with mars also placed there. you are extremely brave, and you can seem collected even during hard times. your feelings and approach to intimacy are intense, almost life-changing. you're probably also very spiritual. you may be fond of taboo topics, such as sex, astrology, horror and so on. possibly, you may also experience a lot karma around your relationships. you could date people from your past lives for example, hence your soulmates. or perhaps, when you make something wrong in a relationship, it'll most likely come back to you. yet, these moments help you becoming more mature and transforming into the best version of yourself. in your job, you'll probably end up dealing with other people's affairs. that means that you could become a notary, work in a bank...

your 9th house is in sagittarius. pluto is also sitting in this house. you were a good student, as you enjoyed studying subjects like philosophy, literature etc. after all, there's a romantic side to you that loves poetry and self-expression. overall, you love filling up your life with new adventures and trips that allow you to open your mind and come up with new ideas, theories and views of the world and society. your open-mindness manifests through creativity, hence you may enjoy reading (especially novels), writing, watching meaningful movies and so on. maybe there were a few bullies/mean girls that caused you troubles, or perhaps your parents influenced your studies too much and you ended up choosing something that you didn't like. yet, pluto here indicates that school helps you transforming and growing up. you probably learnt or will learn a big lesson in school that will help you appreciate yourself more for who you are. overall, you went through major transformations during your school life, which helped you to find who you are today. maybe, you’ve changed class/school often, as you frequently changed your mind about the subjects you wanted to study.

your 10th house is in sagittarius, with also the moon placed there. you may gain a reputation for being very joyful and open-minded. you could possibly work abroad, speaking a different language. you may also have the chance to work in a school environment, and deal with people from any country or culture. you find pleasure and energy in work, it's your way to feel free and independent, even it you may work under a boss. it's also where you put most of all your energy, you're very goal-oriented and you strive to be the best at whatever you do. you may also find a great job fast. your future career will most likely feel very light to you; you could use your creativity to work, hence you could be a singer, a stylist, an artist, a writer... perhaps, you could even work with children in some way, maybe as a teacher since your mc is in sagittarius.

your 11th house is in capricorn. you’re very picky with your friends, and you tend to be quite serious in friendships and social interactions. you may crack some jokes, but you take loyalty very seriously. at first, you may also find yourself not having many friends. you only started to get to know new people while growing up. the 11th house is also the house of goals, and you work hard to achieve them. you're very assertive from this point of view, you'd do anything to make your dreams come true. you may have defined, solid dreams since your childhood, and you could even pursue the career you wanted when you were young. I feel like you probably have very big goals and dreams that you want to come true. you may have to work hard to achieve your goals, but saturn's presence in this house assures you that you'll be able to achieve anything you want.

your 12th house is in capricorn, with also uranus and neptune placed there. I feel like you’re an extremely spiritual person! especially with neptune being in its natural place. you may be able to have prophetic dreams, talk to spirits, read tarots or birth charts… anything that has to do with your higher self and world. yet, due to uranus, I assume it could be hard for you to fully embrace these skills of yours. in fact, you may be a bit too pragmatic to embrace your spirituality. I think you’re already working this out since you’ve booked an astrology reading to discover more about yourself, but remember that you should definitely try to get more in touch with your soul! even doing simple stretching, meditation or yoga can help give you some space to think about your identity, your wants and your needs. the 12th house is also the house of fears, and since its cusp falls in capricorn, you may be afriad of authority, like the police for example, or anything that appears to be much bigger and more supported than you. it may also manifest in fear of not being organized, and also fear of money / success loss.

❤️ love life, soulmates

in love, you attract virgo, capricorn, sagittarius and cancer. your future spouse will most probably have capricorn and sagittarius placements, perhaps some virgo placements too. they could be quite self-centered first, they'll have an exceptional charisma and they will care a lot about their appearance. yet, there's an hidden side to them that is very insecure and needy of affection, just like you. basically, you'll see eye to eye on a lot of matters. you could meet in a fun situation; it could be at a party, for example, at the mall, or any kind of social gathering. maybe, you may even meet them thanks to your friends. your children will have cancer and sagittarius traits; they’ll be very fond of you, and will need lots of care and affection. they could be crybabies, but they’ll be very attached to their family. also, they will be very joyful and playful, they'll be very interesting individuals with strong morals.

👶🏻 family life

your mother is a very intelligent person, she's probably very talkative and witty, and she also has a nice sense of humor, even though she could be a bit immature or self-centered at times. she most likely has gemini or sagittarius placements in her chart, together with virgo and / or pisces. your father is also very funny and sociable, he's probably quite extroverted and he may be less strict than your mother. he’s probably interested in foreign languages/culture. he may be a sagittarius, a pisces, a cancer or any other water or fire sign. if you have siblings, they probably have taurus, libra, sagittarius or earth placements. perhaps, you have an amazing relationship with them, even though it might have taken you a while to get along. probably, you weren't close when you were younger, or maybe you used to get jealous of the other very easily.

📊 career

I imagine that you would do best at a career that involves healing, teaching... I can see you doing well in the medical field, for example. especially as a nurse, where you mostly interact with patients. you may also work for associations like the onu, where you're surrounded by people from all over the world. hence, you get in touch with different cultures that can help you opening your mind. you want a wealthy job, where you can be your own leader and use your imagination. I can also picture you doing some sort of online job, you could become an influencer for example or you may be known online for your talents. as I've already said before, you have probably a creative talent to you that could make you quite successful. you also have a way with your words, therefore you'd make an amazing writer, screenwriter, poet, etc. as well. maybe you could also work as a translator. overall, you want a job where you don't really have to depend on others. actually, you probably strive to be your own boss.

👕 fashion sense, style analysis

you probably love clothes that can show and enhance your body. you may love wearing crop tops, skirts, bralettes, shorts... anything that leaves a part of your body uncovered, yet that still looks elegant and classy. you could also enjoy baggy clothes, paired with fancy accessories and heels. for colors, you go from wearing bold colours like red, burgundy and neon, to darker shades like black, dark blue etc. you probably also love neutral shades, like kaki, beige and so on.

👁 past life, life purpose

in your past life, you were a very spiritual individual. you were close to your higher self, and you probably were able to talk to ghosts, you used to interpret your dreams and you most likely were also interested in astrology and other occult matters. in this lifetime, you need to put your spirituality aside for a while, and focus on finding out your identity here on the earth. you can still use spirituality to find out, but your priority is learning your karmic lessons regarding your self-esteem and work. you’ll finally be able to reach happiness and fulfill your soul when you start having an organized schedule, which allows you to balance both your hobbies and work.

🤔 major transits analysis / november 5

it's scorpio season, that is, transit sun is currently conjunct your natal scorpio mars, together with the transit new moon, mars and mercury as well. while you could be feeling very affectionate and needy, you may also be particularly emotional and impulsive, which could lead to conflict with your loved ones. try to be careful when you speak, especially since scorpio isn't exactly a diplomatic zodiac sign. since it's the 8th house we're talking about, these conflicts may happen between you and your close friends or lover. transit sagittarius venus is also conjunct your natal moon, therefore I feel like even though you're quite impulsive in these days, you still try not to hurt others' feelings. you could also be feeling particularly romantic, rather than engaging in social interactions you value intimate bonds more.

🧿 manifest what you want, secret skills

with your water placements, you probably have a 6th sense. you’re able to manifest what you want if you subconsciously predict it, even though it may be hard. you’d have to get in touch with your higher self to do so, and hence I would suggest you to light up some candles and meditate for a bit before manifesting, in this way it will be way more effective. you may manifest something while daydreaming, for example. or perhaps, you can also try listening to your own affirmations while you sleep, as you won’t be consciously aware of that. it’s probably the most effective way.

this is the end! thank you again for booking a reading, hope it resonated with you :)

-libramc xx

[astroforfun]

Timothée Chalamet

Elegance is what comes to mind looking at his chart.

Neptune conjunct Mars and Mercury in the 5th house

Moon in Pisces

Asc in Virgo

Refined taste, graceful expression of emotions, delicate in movements, ethereal beauty.

Stellium in the 5th house

Creative, artistic, someone who loves to express himself and to gain admiration for the self through art. Someone who loves love, a constant desire for the ultimate romance (Neptune), falls in love with an imagined idea of a partner and falls in love frequently. Also, he loves to have fun.

Venus in Aquarius in the 6th

It’s in contrast to his other placements, and his Venus isn’t aspect by any other planet apart from an out of sign conjunction to Uranus.

Eccentric love nature, someone who needs freedom and maybe fears commitment,he may prefer eccentric partners, friends before lovers, it’s more about having fun(add the 5th house )than developing a close lasting connection.

It is located in the 6th house, there is a love for work, self improvement.

I’d add that Aquarius Venus tends to have beautiful skin! He has Venus conjunct Uranus so it’s even better.

Capricorn gives great bone structure

Pisces gives beautiful eyes

Asc in Virgo gives a classy vibe.

Moon in Pisces conjunct Saturn square Jupiter

Emotionally controlled. The highs and downs of a pisces moon are less frequent, there is a realistic approach to the emotional life, and even melancholy. Jupiter optimism is checked by Saturn.

Looking at his chart, solely from an astrological point of view, he presents a Neptunian persona to the public,Asc ruler is conjunct Neptune (delicate, beautiful, etheral) but he is more disciplined and career oriented than what people see.

MC ruler in the 6th house,Capricorn stellium,Moon-Saturn/Jupiter

Pluto in the 4th, conjunct IC, Moon in the 8th house

His emotions are strong, all consuming, obsessive. It’s an aspect that points to a strong inner life, this guys doesn’t easily break under emotional stress. His deep desires are kept secret from everyone. For an actor this is a great aspect because if you want to convey a wide range of emotions then Pluto in the 4th has a lot to give! (and of course, moon in the 8th house)

Alsongside his Capricorn stellium, Moon-Saturn, I dare say he likes to keep everything under control. Especially his emotions. It also points to strong sexuality (Pluto in the 4th and Mars in the 5th, Capricorn placements)

He also has Pluto square Asc: it gives an intensity to the persona in appearance. Magnetic, yet delicate (Neptune)

Asc ruler in the 5th house Powerhouse

Again, creativity! Love for art, love for love, romance, cinema, theatre, having fun!

Conclusion: he has a beautiful chart! It’s the chart of someone blessed with talent, beauty, charm and a lot of resilience.

What strikes me the most is the beautiful combination of pisces-capricorn that is perfectly seen in his appearance and demeanour.

[aalathatatlanok2020film-blog]

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I do not own this song or the Image, all credit goes to their owners. Some changes were made in used content. Original language of this video description is English. It’s so Awesome. Subscribe and Share with your friends! to my channel. See for more videos!!. I want to say ‘thank you’ for being the friend!! Thank you very much. We tell everyone who is happy to receive us as news or information about this year’s film schedule and how you watch your favorite films. Hopefully we can become the best partner for you in finding recommendations for your favorite movies. That’s all from us, greetings! Thanks for watching The Video Today. I hope you enjoy the videos that I share. Give a thumbs up, like, or share if you enjoy what we’ve shared so that we more excited. Sprinkle cheerful smile so that the world back in a variety of colors.

Thanks u for visiting, I hope u enjoy with this Movie Have a Nice Day and Happy Watching :)

[goodvibesatpeace]

Astrology: Finding Happiness

Aries: Know Who you Are

Aries rules our face, our heads, our identity. Without a strong purpose or identity in life, an Aries may not be happy. Ruled by the planet Mars, Aries is our natural leader; they are the fighters, they are the rebels changing the rules.

I can’t help to think of Billy Idol’s Rebel Yell video, when I think of an Aries. They need a Cause, a Purpose, and they need to understand who they are. Quiet your mind Aries.. look deep within. Silently ask yourself “who am I?” and wait for the picture to come alive.

Once you focus on what you want, keep that fire burning behind it, you’ll get it.. and your looks will help too.

Taurus: Strong Self-Worth

Through Taurus, we understand what we value the most. Without a strong Self-worth, a Taurus may not be happy. Ruled by the planet Venus, our Goddess of Love, and the finer things in life, she is the manifesto for all these things, including our own personal finances.

Once a Taurus can communicate what he/she needs clearly through the part of the body they rule, which is the throat, they will become stronger, and instantly get what they deserve. They are the true Manifestoes.

I am reminded of the Fairy God-mother from Cinderella; all you need to do is wave that wand, and see the picture of what you want. Make sure it is aligned with your true Values, and bippity-boppity-boo, it will come true.

Gemini: Communicate Freely

A Gemini that is silenced, or repressed in expressing themselves may not be happy. They need the freedom to express their feelings and emotions through the best way they can: Words. Words are Gemini’s best friends.

Mercury is the ruling planet here: the planet that rules our minds, our thoughts, and all forms of Communication. In Gemini, it makes them the natural writers, poets, musicians, and speakers.

I am reminded of George the VI, who wasn’t supposed to be appointed King, and had to overcome his speech impediment. Then, once he had the courage, he became an inspiration to many. We know your dualistic, beautiful-mind has lots to say, and the World is waiting to hear it.

Cancer: Home is Where the Heart Is

A crab without a safe & cozy shell, where they can be themselves, may not be happy. A Home to call your own; a place where your emotions are free to flow with the people surrounding you(immediate-family, spouse, or children), that understand YOU, and will allow you to be just ‘You’.

This is the foundation of Cancer: The Happy- home. Create your sanctuary. You are the most emotional of all signs because you are ruled by the Moon, that controls the Ocean-tides. Resolution with mother/ father, and finding peace with your own upbringing, if there is karmic ties that need to be cleared.

If there are things that need to be said, say them now. I can’t help to think of the Brady Bunch; how two families had to live together in harmony under one roof, and they did because emotions were always talked out.

Leo: Express Yourself Bravely

A Lion without a Pride, may not be happy. A Pride has a purpose, and they look to the King for direction. An audience always needs to be around this gracious, Social- being; they are the Center of attention, ruled by the Sun.

The Sun is the light shining bright through our hearts, like most signs, but especially for Leo’s; they must discover what they love through Creative, self-expression. This usually revolves around overcoming some fear.

I think of Simba from The Lion King, who has a many lessons to learn, and overcome, but in the end, we all knew it was his destiny to rule. Allow your insecurities to fall by the Way-side. Do what you love, and do it with grace and passion. You are the Natural-born star.. its your time to shine.

Virgo: Love Yourself First

A Virgo without a good routine, physically and emotionally, may not be happy. It is not because they lack discipline, or are seen as lazy- quite the contrary. Its because they think of others first. They are the natural-born Givers, and Teachers; they are the Mother Theresas’, and the Gandhis’ of our world.

By giving up their life for others, they may neglect what they must do for themselves. Ruled also by Mercury, you have a naturally-organized mind, a ‘to do” list in your head of 100 things perfectly departmentalized.

Learn to Love yourself first. Focus on you, and then others will follow, and appreciate you more. Your family will understand that you need to workout for 20 mins before breakfast is started, and the dishes will wait without the dust running away. It will all be there for you when you get back.

You’ll feel so much better once you get the YOU routine in order, and STAY on track.

Libra: Balance of Energy

Unhappy relationships equals unhappy life for these loving, Bright-beings. It can be through business, or in personal relationships. A Libra without another person in their life(a close friend, relative, or a significant other) may not be happy.

Ruled by our planet Venus, this is where love and marriage is highlighted. They are the Scales of life; the ones who need to balance their energy the most, to feel alive and in good spirits. Work, social, and personal Time is all crucial to your well-being.

Don’t give too much of yourself to your partner in life, and don’t spend too much time in isolation. Im reminded here of Bridget Jone’s character; focused on her career, but has the support of close friends, and family around to guide her love-life, that is highlighted by a decision of two men.

Can she choose the one who represents her energy the most? Vibes attract your Tribe; stay positive, and do you, and the right people will arrive in your life.

Scorpio: Commit to Your Passion

If a Scorpio is not Passionate about anything in particular in their life they, may not be happy. The sign most associated with Sex, the Mysterious, and the Mystical ones. They are creative beings ruled by not only Mars, but the deep, transformative, icy-planet- Pluto.

The most Powerful sign, they see beyond the surface, and through it all. A Surface-partnership, Project, or Life will just NOT do. They strive on big-business and big-deals. They are not scared to explore the depths of the cold-ocean so many are fearful of.

I think of Martin Scorsese; taking chances of ridicule by bringing us movies like Taxi, Casino & Raging Bull, that explore the darker, aggressive, passionate-side of cinema. Death and transformation, is a big part of these movies, and that is what Scorpio must become comfortable with. The idea of killing a project, ego, or partnerships, to bring to life new people, projects, and a more awakened-self.

Boredom is Death to a Scorpio. Learn to Let Go. Be obsessed with what makes you feel alive. Be in Love with those who connect with you at the deepest level, and Be the Phoenix that rises from the grave, to bring your gifts to light.

Sagittarius: Keep Learning

A Sag that is not learning something new, or discovering new lands, may not be happy. You are the Philosophers, the Inventors of the world. You can do anything you put your mind to, and you need to trust yourself enough to Think Big.

Never allow yourself to become complacent. Jupiter, your bad-boy, big-ruling planet, wants to gift you with everything you Desire. When you travel, you expand your horizons, every place you visit will become a part of your essence, and Teach you much more about yourself.

It’s at this time that Saturn returns to your sun sign once more. Can you think back 30 years ago? What major changes in your life occurred then? Maybe you’re just learning NOW, the lessons that Saturn has bestowed upon you.

Its time to grow up, and see that the big-Changes have started to come into your life, and are for the better, if you can just- Believe. Your beliefs: Thinking of the movie Big Fish; many could not believe if his story was true, but it didn’t matter because the Inspiration it left us with was enough to feel like magic, that still exists in this world.

Capricorn: Keep the End In Mind

A Capricorn without a big-Goal, may not be happy. Our Goats of our Zodiac climb high, and steady, as they reach the Top of the mountain. Capricorns are ruled by our Time-keeper- Saturn.

Our Rule-maker, and even as the goats climb sideways, we wonder “How do they do it?” They believe it- that’s why. They know if they just Focus with the end in mind, they will survive, and get there one day, regardless of how much pressure they need to put themselves under. Hard-work, and perseverance never fails.

I think of the lead role in Shawshank Redemption to escape his demise; he made his way slowly digging a hole, little by little, year by year, not allowing himself to be distracted, or discouraged.

You of all signs understand that life cannot be measured in a year, or a day, and if a set back comes your way, you know you will make it to the top of the mountain again, just try NOT to take life so seriously, and learn to yodel along the way.

Aquarius: Stay Connected

An Aquarius in Isolation, may be not happy. You can be sitting in front of your computer, and connected to thousands.. You might even be conjuring up the new Facebook technology of the next generation, but you need Personal connections in this life, outside of the internet.

Community-work comes to mind, and being with great friends or family, is important to an Aquarius, even if they don’t seem to show it. They connect very quickly to many, and can disconnect just as quickly when a new topic, or new surrounding comes their way.

This is just their way of life; they are not being rude, or dismissive.. they are just learning through US. Ruled by the planet Uranus, their minds work overtime, and see things very differently than most. Sudden change, and big-moves seem to happen in an instant, and it’s how You handle them, that make all the difference.

Know that you will always be okay, with strong connections that last longer than others, and will always be there to re-energize you. Social networks like Meet-up, were invented for you, OR maybe you’re working on creating your own.

Pisces: Know that You Know

A Pisces that doesn’t Trust their Intuition, and seems lost at sea, may not be happy. You are the seers, and you probably know the next words I’m gonna write before I even print them. Neptune, your ruling planet keeps you connected naturally to the Ethers, but as you are the two fish swimming in opposite directions so quickly, you can Choose to disconnect this Strong-power.

Whether you use drugs, alcohol, or just convince yourself that they don’t know the truth hearts desire is you can’t run away from the truth. You are here to help others and guide us with your inner knowing.

Don’t slip away into the dark depths of the ocean-tides. Come back to us, take a deep breath and rise up through the surface and let everyone see what a miracles being you are. Your intuition will always guide you. The more connected and sober you go through this life with a spiritual practice in mind, the happier you’ll be.

[mothermaidenclone-blog]

Ad Astra or This Movie Was the Brad Pitts

Ad Astra was the worst movie I have paid to see since 2015’s Kill Your Friends, which is my least favourite cinema experience of all time. It was a dry and dreary story about emotionally stunted white men in a bleak and boring capitalist version of space, with jarring and superfluous Christian undertones. The plot and everyone’s motives were so non-existent that Brad Pitt had to narrate the whole thing in a monotone so flat and dead I literally screamed all the way from the cinema to the bus stop when it was over, partly out of a frustration so deep it was non-verbal, but also just to finally hear some pitch variation.

*Ad Astra spoilers follow*

There technically were women in this movie. Lots of women, particularly women of colour, occupied high ranking positions and were addressed by their titles, a touch I think is important and that usually tips the scales in favour of a good review for me. We were graced with Adjutant General Vogel (LisaGay Hamilton), Captain Lu (Freda Foh Shen), Sergeant Romano (Kimmy Shields), Tanya Pincus (Natasha Lyonne) and Lorraine Deavers (Kimberly Elise), as well as several unnamed female personnel (Kayla Adams, Elisa Perry, Sasha Compère and Mallory Low). I would like to particularly highlight Natasha Lyonne’s performance as apparently she was the only actor employed to play a human being and not a replicant. She was on screen for maybe twenty seconds, as is sadly the case with most of these women, but was a glorious breath of fresh air as the only character to simultaneously emote expressively and speak with inflection and enthusiasm. The only one! In a two hour movie!

All of these women appear to be respected and capable members of various illustrious teams, but are always outnumbered by men. There are two male generals alongside Vogel and Deavers is initially outnumbered 4:1 on her space craft by men. Tragically, whenever a team is being picked off, it is always the people of colour who die first. Not only is this obviously racist, it is just a disgusting cliché that we just don’t need to see anymore in movies. Deavers dies first when Roy (Brad Pitt) forcibly invades their vehicle, followed by Franklin Yoshida (Bobby Nish), an Asian man, and Donald Stanford (Loren Dean), a white guy, is the last to go. Roy cradles him in his arms and attempts to save his life. I hope it’s not just me that sees something wrong with the order of events there.

A similar scenario takes place in the lunar chase, which absurdly seems to occur in the same crapy looking buggies as the original moon landing, a confusing visual choice considering we’ve just seen a vast and impressive modern concrete moon base. The film takes the time to introduce us to Willie Levant (Sean Blakemore), a black officer who will be escorting Ray across the moon. As soon as we see he has a photo of his wife and child taped to his tablet screen I knew he was going to die - in the year 2019 I should not be able to predict that a black character is going to die because we saw a family photo. Can we just not anymore? Again, aside from the racism, that’s just shitty writing. I like to think that as a species, if we can conceptualise something as vast and seemingly impossible as solar travel, we can also move beyond basic and derogatory cinematic tropes.

I was most excited by the appearance of Helen Lantos (Ruth Negga), a woman of colour who occupies a position of power on Mars and introduces herself assertively using her full name. Also, her whole look was excellent. However, this brief release of serotonin was very short lived as she literally walks Roy down a corridor then is immediately cut off and superseded by a white guy with a man bun. Lantos does return later, but alas, as an exposition machine to give Roy some plot news about his dad. Even as she explains that her parents were murdered by his, Lantos falls victim to the dire, emotionless monotone that I can only assume was forced on the entire cast of this film. Then, she is an actual chauffeur and drives Ray to a manhole so he can continue his dad quest. A character brimming with original potential is presented as nothing more than a device.

The final woman to mention is the first one we see, Roy’s ex-wife Eve (Liv Tyler). We see the blurry, out of focus back of her head in the background of a shot before we see her face, and this is incredibly telling, because that’s all Eve is, the simulacrum of a woman. She could be anybody - so why she is Liv Tyler defies belief, I can only assume they held her loved ones hostage - her story is untold and entirely irrelevant. Again, she is only a device, although this time not for Roy’s forward momentum, but this time seemingly to emphasise that Roy is a total sociopath with no emotions whatsoever. We don’t learn Eve’s name for another twenty minutes, and it is an hour and twenty minutes before we hear her speak. Even then, it’s not a live conversation, because god forbid this film have too many of those, but a voice recording explaining that their relationship is over. I’m not going to lie, I’m pretty sure that’s what it was, but everything she said was so generic I have no memory of it whatsoever. She is presented as a ghost, a blurry image on a screen, a memory fixed in time, not a real person with agency and personality. At the end of the movie we finally see her in real time, and that is when she has made the unfathomable decision to meet Roy for coffee. Even her face in that moment gives no emotion away, perhaps because Tyler had no idea how to act this entirely nonsensical decision. To our knowledge, she would not have seen any change in Roy, only received news that he survived a dangerous space mission, which is apparently enough of a reason to get back with this emotionless egg of a man?

I almost didn’t want to devote words to them, but I think it’s important to address just how dire Roy and his dad H. Clifford McBride (Tommy Lee Jones) are. This is their film, they are the reason that all of these women’s stories are passed over. It is made clear over and over again that both Roy and Clifford believe they are the only people capable of completing their various missions. Roy hijacks a ship and inadvertently kills everyone on board because he thinks that it’s his destiny or whatever to get his dad back, never mind that they were all highly trained space personnel who were arguably better suited to the mission precisely because it wasn’t their dad. Clifford straight up murders his whole crew because they are too “small minded” to fly off further and further into space forever on a mission that has yet yielded absolutely no evidence of their goals. A variety of talented human beings are destroyed because of the entitlement of white men, their delusional and unshakable conviction that they are at the centre of the universe and that no one else could possibly accomplish the lofty goals that kismet apparently calls them to.

The way they speak about themselves and to each other is absolutely psychotic. Roy’s solo musings include, “The flight recorder will tell the story, but history will have to decide,” and “In the end, the son suffers the sins of the father.” Clifford imparts his son with the delightful greeting of, “There was never anything there for me, I never cared for you or your mother or your small ideas.” In addition, they both physically flinch from human contact at various points in the move. Now, I totally understand that we live in a neurodiverse world and that many people experience emotions and social interactions in any number of ways, and that is a beautiful thing that makes our world so interesting to live in. However, that these men both abjectly state that they have no empathy is presented within the context of their megalomaniacal ideals that they must accomplish their god-given quests irregardless of how many people they have to kill along the way. It is a facet of their strangely two-dimensional, arrogant and narcissistic personalities, not one part of many complex features that make a complete and relatable human being.

Roy has to literally say out loud that he is a human being at the end of the movie; “I will rely on those closest to me…I will live and love,” which makes him sound more like a learning AI trying to pass a Turing test than anything else. The music swells as Clifford throws himself towards the surface of Neptune in an orchestral deluge that is unsubtly significant in this very quiet film, as though I’m supposed to start crying and think anything other than, “well thank fuck, it’s about time this murderer dies in the cold vacuum of space, I hope Roy stays spinning and screaming here forever too.” We are supposed to feel sympathy for them as the heroes of this movie, despite the fact that they show no care for anyone else throughout the whole thing and act entirely in their own self interests.

Overall, the women in this film are given about five seconds of potential as they introduce themselves variously as decorated soldiers and otherwise capable personnel, before being shoved to the side, or murdered, for Roy. This is obviously objectionable, but is made so much worse by the fact that Roy is an emotionless, entitled, empathy-less white man who doesn’t care if other people have to die for him to get what he wants. That is what these women are being passed up in favour of. I felt like I was watching a two hour long Voight-Kampff test. Space movies like this should be about what we can achieve if we work together as a species, not about how white men will still be the kings of dreary capitalism, even on the moon. We can do better than this.

And now for some asides:

What the actual fuck was the font at the beginning? I guess a red serif all caps should have alerted me to the fact that I was about to watch a horror movie.

As a lover of space horror, I was absolutely gutted that it was a bad CG angry baboon and not a cool gross alien. Also, what was that scene? “Hmm, we need to get rid of this loser because Brad Pitt is the best at space ships and he needs to be the captain. Uhh…what about…space monkeys? Yeah! Space monkeys on a deserted Norwegian ship. That makes sense.”

Can I just have a film bout those moon pirates fighting space capitalism please? I was more invested in them that anyone else in this garbage movie.

Credit for the Bradd Pitts joke goes to the talented and lovely Ed Cheverton

[wadey-wilson]

I see you saw Captain Marvel. what's your opinion on the movie? i kinda liked it, but I feel like i haven't got a strong opinion yet :/

since i don’t know how to write reviews, i’ll just… here goes.

ok so, the movie wasn’t as bad as i expected it to be, and it necessarily wasn’t as Great as i wanted it to be. i say it wasn’t as bad because i always go to a theater with the half ‘how bad can it be’ and half ‘i hope it’ll be good’ kind of an attitude. 7/10 for me. i feel like upon rewatching it i’d give it a 7,5/10.

and now hear out my logic before you go after me or something, because i can explain, okay. it’ll be messy, so i’ll just… do it in points

- music - some of it worked, some of it didn’t. i felt like the need to be 90s-like overwhelmed the directors/producers, and some of the songs weren’t put in the moment they should’ve been, or were put in a wrong way (say, Come As You Are). but it worked for the most part, no big complaints on my side.

- editing - it worked for like 90% of the movie. sometimes the editing was so quick that i couldn’t tell what was going on. but even the badly edited moments are light years ahead from the TASM movies.

- the make up was just… amazing. the fact that the skrulls looked so good makes you wonder why fox got lazy on their make up with like one fucking person. mcu literally paints like half of their characters, even wade wilson in fox looks just wonderful, and then you have raven who looks more and more like shit with every movie she appears in.skrulls looked almost breathtaking, i was really amazed by the job the make up artists did, huge kudos to them. the fact that talos expressed his emotions so well under the prosthetic was just… wow. kree looked very good, the glowing on carol look very nice, and the cgi on nick fury was just freaking groundbreaking - at some point you just couldn’t believe this guy is like 70yo in real life. when the cgi is so good you don’t even notice it, then you know that the artist reached their goal.

- i liked the world building. i understood the cosmic stuff for the most part. i knew who, why, when, and what for. the movie had a lot to say in not so much time, yet it still kinda managed to no overwhelm me with the information.

- i adored the interactions. characters were playing off each other really well. the buddy cop relationship between carol and fury was undoubtedly one of the best parts of the movie.

- the pacing was great. some of the marvel movies or movies in general really feel like they want to be 8 hours long, and this movie doesn’t have that problem. you don’t really notice the time passing, the scenes don’t drag, there’s no focusing on such bullshit like obligatory/forced hetero relationships, too long conversations, or too long action scenes, and before you know it the movie ends - that’s how you know the pacing was fine. (compare it to AMATW and how it dragged. seriously, i needed breaks while watching ant-man and the wasp. i couldn’t sit and watch this whole movie. thank god i didn’t go to the cinema for that because i’d probably annoy everyone with pee breaks every 3 minutes. but that’s an opinion, don’t @ me, we can have different opinions about different movies and still live a good life.)

- i really, really enjoyed the way the movie mixed everything. you have the kree, you have skrulls, you have humans, shield, the air force, some flashbacks, and the movie doesn’t feel like a frankenstein kind of a creature. take TASM 2 for example where it feels like you’re watching 9 different movies put in 1 movie despite the action taking place in one freaking city. i felt like it was all tied together very well in captain marvel, and i think it may be because the main character took you on the journey and showed you everything from her perspective, and it worked.

- the humor was so good. you had to get used to carol’s snarky comments or how she brushes off everything with jokes, and then some dry-like kind of humor came in, and then some real humor came in, and even if some jokes didn’t land, it still felt like that person would actually say it.

- i like the twist with mar-vell [*‘everything has to be like in the comics’ people screeching in the background*]. i like how the skrull were done - i really, really felt for the skrulls (that moment when talos rubbed his face against his wife… my eyes watered.)

- goose the cat. that’s it. he won my heart.

- and as i mentioned before - the movie also undercuts these superhero-landing tropes - we’ve seen that before, it’s not so impressive anymore, AND we’re gonna see it dialled to 11 in endgame.

- now hear me out and don’t @ me - brie larson does not have the MCU-like charisma… YET. just yet. she’s on a good ground. you know she likes that role, it shows she likes that role, she wants to play it, she wants to be that character.

mcu charisma is what i like to call the kind of a vibe that the mcu actors give off when playing their roles. you know nobody could replace tony stark, you know nobody could play steve rogers the same way evans does, you watch tom holland and forget it’s tom holland, you see a peter parker, you look at rhodes and forget there’s an actor underneath. i didn’t feel that with brie larson just yet in like 1/3 of the movie. i could see her acting, see her having fun and knowing what she’d like to do.

and i’m NOT saying it’s her fault she doesn’t have that charisma yet. i think the fault’s in the writing and the directing. carol danvers did not have enough ‘me’ screentime. again, don’t @ me, i do not criticize the acting or the actress, or the movie. it’s about how her character was written into the story. because it felt just like that - she was written into the story, instead of the story being written around her, despite her being the main character. and it was a glaring problem that wasn’t really a problem you cared about - and that was because the lines delivery was great, the movie was funny, well-paced, well-acted, the action was good, the music for the most part was good, the cgi aged well. so you didn’t really notice that lack of ‘is she the charcter yet, has she become the character yet?’ thing.

but then again, i didn’t feel for steve rogers up until the end of the movie where he crashed the ship. i didn’t feel for thor in any other movies than the avengers, ragnarok, and then endgame. i still don’t feel for sam wilson EVEN THOUGH i like the character (he certainly has more depth than black widow in one movie than she has in all the movies, and it’s the writers’ fault, not scarlett’s). i have never felt for black widow - she has no character for me. she’s better now than she was in im2, but i still don’t like her as a character, and that is because i have… nothing… to like. she’s snarky and bland for me. and it’s a shame because then you see shuri or pepper potts, or okoye, or even aunt may and you can tell they have a lot of depth despite being given not so much time on the screen. and then natasha shows up and like, ugh. *spider-man noir voice* who are you again?

some of the mcu actors hit off with the character charisma the moment they show up on the screen, some of them take their time, and it’s ok. it’s absolutely ok for brie larson to not BE carol danvers yet.

we’re yet to see her in endgame and in other movies, so i’m more than certain she she’ll become a captain marvel.

i feel like she’ll kind of have this thor complex - boring (yet carol is way way way way better in her movie that thor was in thor 1 and 2, don’t @ me, i really don’t like thor 1 & 2) in the origin movie, but wackier and ultiple times more interesting as it goes on. she also has this stephen strange complex - she needs more characterization the way doctor strange did. strange was a prodigy in almost everything he did job-wise but was disconnected with his emotional side, and i kinda feel the same for carol danvers.

she will be good, i feel it, i believe in it, give her time. even though i liked her in the movie, she still lacks some depth. that’s not to say she has no depth, no, she has a lot of it. she just hasn’t been able to show it yet.

overall, given that it was a first movie with such huge budget for those indie movie directors, i think they managed. yes, the movie is a bit scattered, and it lacks a bit of depth, but it ties into the mcu very well, it’s entertaining, the humor is good, and the action is good.

7/10. lighthearted and entertaining, even if a bit choppy. we can discuss.

[lucyreviewcy]

Ad Astra (2019) Dir. James Gray

So this afternoon I went to Pizza Express and ordered a Pollo Ad Astra so that I could make the experience of going to see Ad Astra a fully immersive one. This movie is a science fiction trawl through the psyche of Brad Pit as the oddly named Roy (it’s set in the near future, I’m thinking maybe 50 years, which means Brad Pitt would have been born around now and I don’t know many people naming their babies Roy, is all.) Without getting as hung up on details as I am definitely about to, this is a pensive science fiction movie with the traditional breathtaking visuals and score of the pensive science fiction genre. Brad Pitt’s pretty good in it, even if one shot makes his ear look weirdly tiny. Liv Tyler appears to have delivered 90% of her performance via facetime. 

The things I liked about this movie: Brad Pitt’s character looks like he’s super calm but maybe ate a bad emotion sandwich at some point, throughout. Roy is clearly a very cool, calm character. Pitt is understated, but occasionally looks like he’s got some real bad heartburn for a few seconds before responding to a question. I also enjoyed the way that the near future was portrayed, there was a lot of “Hey, I recognise that logo!” and “Hey, that’s the font that they use on roadsigns in the now times”. It was nice show don’t tell and I felt really familiar with the universe of the film from a very early stage. The score was nice and the panning space shots were breathtaking, if you like that kind of obvious attractiveness. The movie was well aware of its breathtakingness: stand down One Direction - Ad Astra certainly does know it’s beautiful. 

The casting of Tommy Lee Jones as Brad Pitt’s (or Sad Pitt as he shall be known henceforth in this review) dad is actually pretty good. The director also resisted the urge to perfectly line up their faces when Sad is looking at a video of his dad on a transparent screen. Good job, James, you made at least one good choice that day.

The things I disliked about this movie are a little more complicated. Liv Tyler didn’t need to be there, they could have used gifs from Lord of the Rings to put her scenes together with much the same effect. It feels like she was a very expensive bit-part and they could have used those extra pounds to buy a better screenwriter for the voice-over (I’m going into more detail on the voice-over later but don’t worry, I’m coming for it.) 

Tyler’s useless presence is symptomatic of the wider problem that the minor characters weren’t fleshed out at all, occasionally leading to some moments of “Wait, why would she/he ever do that?” In movies that are all about the psyche of one middle-aged man, often we find that all the characters become these Marmite figures who are either completely for or completely against our protagonist - this happens a lot in Ad Astra. The film doesn’t justify characters’ suspicion towards Sad Pitt, it just says “These guys hate him now” or “He can trust this person.” 

Occasionally, it felt like Director James Gray was going through a list of “Science fiction tropes that will make people say your movie is seminal” and checking boxes. See Mars, Mars looks like Blade Runner and Sad Pitt is being escorted through the hallways by a mysterious woman in black... JUST LIKE IN BLADE RUNNER, where is my Oscar? 

The above aside, the true criminal in this plot to undermine what could have been a pretty interesting (though not seminal) science fiction film, was the demon voice over. So much it is irrelevant and there were points at which I and other members of the audience in the screening I was in laughed out loud. What’s the point in Sad Pitt working so hard to look like his emotions are giving him tummy trouble when you’re just going to tell us all his emotions? His constant feeling word-vomit means that when he finally does express emotions on-screen, the moment isn’t poignant, it’s just more of Sad Pitt being Sad. 

Ad Astra was not a bad movie-experience. I’ve not seen a lot of this genre in cinemas and it’s one that actually makes the trip to the slightly gross Vue near my house worthwhile. While the Pollo ad Astra is a pizza that marries sweet and savoury with subtlety and grace, Ad Astra shouts its flavours at you like a whole mouthful of roquito peppers. I’m excited for the inevitable directors cut, sans voiceover, which will make for a much more interesting film. 

[jamesandrewsmars]

The words that I have chosen for my project are so versatile. They can be all picked out into any form of art. Whether that be, abstract, figurative, sculpture, music, performance, and cinema/photography. The word element, in particular, has so much meaning, such as texture, colour, space, line, and rhythm. All of these attributes are a link back to abstract qualities, I have always been interested in colour, shape, line, and rhythm. How they construct themselves into one piece, as to, how they all compliment each other to me is ever so interesting.

Mars is the fourth planet from the Sun and the second-smallest planet in the Solar System, being larger than only Mercury. Mars, known as the Red Planet, is a mostly dry and dusty place. A variety, of colour, can be seen on the surface, including the predominant rusty red. The colour red has historically been associated, with sacrifice, danger, and courage. Red is also the colour, most commonly associated with heat, activity, passion, sexuality, anger, love, and joy. I plan to produce an outcome that resembles Mars, or how I perceive Mars as a whole. To express how Mars would act like an individual with human characteristics but in a form of art, whatever that may be. I'd quite like to produce a series of paintings or drawings. I'm very undecided, but I'll probably end up doing a mixture which is always good.

Artists in particular that I have reflected to are Robert Rauschenberg and Jean Michel Basquiat, both being very diverse against each other, but complementary in some areas. The subject of their work and their interpretation of the world. These include opinions, expressions, issues, text with meaning and collage. I like to be quite physical with my mark-making and graphical with my choice and placement of imagery. Basquiat and Rauschenberg both some up my way of working to a certain degree.

[yatorihell]

In The Darkness Chapter 23 - The Hogwarts Express

Words: 3,891

Summary: Third arc of the Harry Potter AU! Another summer has passed, and a new threat presents itself.

Previous chapter | First chapter

Thank you Gio @themusicalbookworm for beta-ing me <3

Happy birthday Kayla (@pahndah)

Read on AO3

Yato groaned. The rattle of a passing train threatened yet again to bring down the roof above his head, waking him from an otherwise peaceful sleep. The world peeked back at him through the slit in his fringe where he squinted at the curtain-less window, much too bright and too grey for him to want to wake up.

The Leaky Cauldron wasn’t the finest place to live, but it was the cheapest.

He had a modest room – the best he could get at such a low price – which became more of an owl cage to Yato as he whittled the summer away.

Yato kicked his legs out in the tangle of bedsheets he had created, frowning at where the canopy of his bed should be, instead seeing the same bland ceiling that greeted him every day. He wasn’t sure just what had happened to the fabric that was meant to give him some kind of privacy, but something told him it had been stolen a long time ago, possibly to make clothes for whichever poor hermit had stayed in his room before.

Aside from a lack of veil, the bed was similar to the one he had grown accustomed to at Hogwarts: four-poster but instead it was an ebony oak, meticulously carved with patterns too hard to distinguish. Its age showed when Yato pushed himself up, the alarming creak of wooden slats and the dangerous wobble of rickety wood a sign of the countless visitors who had stayed in the very same bed over the last millennia.

A cloying, lingering smell of age and dirt had saturated into his clothes. Sometimes he was sure it had permeated itself into his skin when he scrubbed his dirty fingernails under the sputtering taps in the shared washroom that stopped giving hot water long ago.

The enclosed charcoal fireplace on the far side of the room had blackened the floor, scuff marks of boots visible from where the cleaning lady had attempted to sweep some muck away. Plumes of sooty smoke had stained the once white walls, laying a fine layer of dirt to every surface and giving the room a shabby chic-less aura.

Yato shuffled to the window and swiped the thin lattice glass pane lazily, grime dirtying his hand which he wiped on his bed trousers without a second thought. It made no difference – the years of dirt from the old-fashioned wizard side of London had marred the outside of the glass, all but obscuring a less than appealing view of tin-patched roofs and dingy alleys where the most shadowy character would not dare go.

Yato let out another longer groan, stretching an arm over his head before dropping it to ruffle his hair into some sort of acceptable mop. He dressed lightly, shoes creaking on the floor with the door slamming shut behind him as he jogged down the wonky staircase and slipped through the small entrance of the Leaky Cauldron.

Wandering was his only hobby that he could say he was happy to do if it meant he could escape the small room he had, and it wasn’t a completely terrible thing if he was confined to Diagon Alley.

Yato ambled, not paying attention to what the common street merchants were trying to sell him. The same rustic cauldrons lined the outside of multiple shops, spilling in heaps on bronze and silver alongside lopsided scales that had been handed down through generations of witches and wizards.

He’d seen new animals being delivered to the Magical Menagerie, cats and toads alike ready to be bought by eager first years when they descended for school supplies. He had also loitered for far too long outside of the Quality Quidditch Supplies when Spudmore’s brand new broomstick – the Firebolt – graced its display window.

Yato wondered if he would bump into Yukine, or Hiyori, but every day proved fruitless and a gnawing feeling started in his stomach when August came with no sign of either of them. A brief thought of contacting them crossed his mind before he realised that one, he had no addresses for them and two, he had no clue how to send a muggle letter. They were probably using their little pocket things to send notes all summer.

Yato’s pace slowed as he reached a shadowy pathway, one that wouldn’t be noticed by the innocent shopper unless they knew where to look. The murkiness of the street against the liveliness of Diagon Alley was unreal, like stepping across the fine line from a dream to a nightmare.

The shadowy depths of Knockturn Alley – a most dubious place you wouldn’t want to be seen in even if you had nothing to hide – concealed the most questionable artefacts, and even more questionable people. Phantom-like witches and wizards hugged the shadows, their dark robes questionable as to who their allegiance lay with, or the manner of magic they practiced.

Yato’s assessment of the alley ceased abruptly.

He squinted.

There, just around the corner, he could see something out of the ordinary – a rarity in such places as this. Eyes, yellow and venomous, stared back at him. Though they were much lower than a person’s height, he could tell that the thing watching him was no human, neither elf nor goblin.

Yato scrunched his eyes more. He could feel his head aching from the contrast of lightning as he took a half-step into the overcast before he caught himself and stopped.

The look he had seen was primal, animalistic, but when he snapped back to his senses, they had already vanished.

 ~

 Hiyori and Yukine stared at Yato in amazement.

It was September 1st. It was 10:45AM. Yato grinned at them, steadying a cage on top of his trolley.

There was a pigeon in the cage.

“What. The hell. Is that?” Yukine said slowly. The beady red eye of the pigeon glared back at him, head twitching in curiosity as the new sounds of Kings Cross Station filled its ears.

“I didn't have one of your cool little thingies!” Yato replied, voice a high whine the way a child would complain if they didn’t receive what they wanted for Christmas.

Hiyori could only guess he meant a mobile phone as he had seen her give Yukine her old one, but she didn't think Yato would have been as jealous as to buy a carrier pigeon.

“If you wanted a ‘cool phone’ you could’ve said,” Hiyori sighed in exasperation.

“Cool phone?” Yato echoed. “Well, I’ve got a ‘coo’ phone!”

He looked so proud at his joke that Hiyori didn't have the heart to shoot him down. Yukine, on the other hand, was ready and waiting.

“It’s vermin. Let it go.”

“But I wanted to talk to you guys!”

Yukine cocked an eyebrow. “I didn’t get anything.”

Yato suddenly lost his words. One small detail – one that would be huge to them – had escaped his mind and was the reason why he hadn’t sent any sort of letter.  

“Yeah….” Yato drew out the word, hoping that what he was about to say wouldn’t be as stupid as he thought it was. “I need your addresses.”

Yukine rolled his eyes and turned on the spot, muttering about how it was a miracle that Yato had been accepted into Hogwarts at all. Hiyori gave Yato a faint bemused smile before following after Yukine, who had already began boarding the Hogwarts Express – though he was still was short enough to lose sight of, he was taller than the first and second years that preceded them.

Yato hurriedly pushed his trolley towards the luggage cart where the stewards were loading bundles of cases and stashing owl cages into a private, quiet carriage. He ignored the strange looks he got from a young girl and her mother upon spotting his odd selection of bird, ducking out of the way and bounding onto the train behind Hiyori.

As usual the train was in a riot of students and all sorts of magic that could easily blind them if they didn’t keep their wits about them. Silver firecrackers and ebony fizz bombs exploded with noisy pops that left their ears ringing by the time they had stumbled through the smoke, searching for vacant cabins only to find all were occupied by at least one person.

Not fancying another death-defying trip through the train, Hiyori pointed at the last door of the carriage where they would be best off staying for the remainder of the journey.

The cabin had a musky smell, probably from its sole occupant who didn’t rise nor turn in their direction when Yukine slid the door open. The trio exchanged glances before shrugging, stepping into the cabin and gently shutting the door as to not wake the stranger.

Yato took a seat on the far side of the compartment next to the door. Yukine sat by the window opposite the stranger, leaving Hiyori to sit by his side.

“Definitely not a student,” Yato remarked, eyeing the stranger suspiciously.

His face was concealed by the tented peak of a coat – probably older than all of them combined – which had been haphazardly draped over his frame which rose and fell steadily with deep breaths. Sleeping.

A battered case similar to his own had been stashed in the rack above their heads, a name tag yellowed with age dangled between the railings. Before any of them could decipher the name the jolted and swung as the Hogwarts Express juddered to life.

Yato relaxed in his seat after a few moments, observing the stranger who didn’t stir as they were slowly taken out of London before the ancient train gather speed, hurtling them towards another year at Hogwarts.

Hiyori initiated the conversation, asking Yato what he had done over the summer to which he gave some vague reply of ‘this and that’ before turning the question back on her and Yukine.

Chattering about things like ‘theme parks’ and ‘cinemas’ that he didn’t understand, Yato nodded like he had the faintest idea what Hiyori was talking about. Yukine seemed to already know all of this – of course, he did have a phone to talk to Hiyori about this – as he didn’t really take part in the conversation. His summer probably involved sleeping. A lot of sleeping.

“I didn’t see you around this year,” Hiyori recalled the time she had bumped into Yato the previous summer. “I thought I would’ve bumped into you the amount of times I went to get school stuff.”

Yato twanged in disappointment. Why didn’t he see her if she was there so often? Still, she had no idea that his he knew full well he was in Diagon Alley the whole time.

“Well, you know, I was at home…” Yato said. It wasn’t a lie exactly as the Leaky Cauldron was his home, but Hiyori nor Yukine had to know that.

“I went to Diagon Alley a few times.” Lie. “But I had to go to other places.” Lie. “Like Knockturn Alley.”

“What the hell were you doing there?!” Yukine exclaimed.

Shit.

Yato’s loss for words and Yukine’s aghast face told Hiyori that wherever that was, it was not a place for a teenager – or anybody – to be. Curiosity got the better of her when she saw Yato’s guilty face.

“What’s in Knockturn Alley? Hiyori asked.

Yato avoided her inquisitive eyes, but Yukine was the one who answered her with a hissed whisper in case anyone outside, or the stranger, was eavesdropping.

“Bad stuff, bad wizards, full of nutjobs.”

At this statement and their paired looks of perplexity, Yato’s gaze shifted to the window. He should’ve kept quiet.

Of course, Knockturn Alley had a bad reputation and it was incredibly suspicious for anyone to go there. Tongues would wag, and whispers would spread over involvement in dark magic and shifty connections to an even darker underground of demented wizards.

They’d think he was crazy if he told them the real reason he was there. Who goes looking for a pair of eyes that may or may not have been watching and following them? The amount of times Yato had glanced behind in the past few months when he felt a presence was enough to make him paranoid.

“There’s a lot of old stuff in there,” Yato said carelessly as if the topic had been blown out of proportion. “I just had a look.”

“I’d rather if you didn’t,” Yukine grumbled. “It was bad enough last year with everyone thinking you were a nutjob trying to kill muggleborns. This would be the icing on the cake if anyone found out.”

A wry smile played on Yato’s lips. “Aww, you do care.”

“Shut up.”

A lack of entertainment left the trio to chat and doze and daydream for the most part of the journey. They hesitated over whether or not to wake the stranger when the dear old trolley witch stopped by, deciding instead to raid the sweets (no chocolate frogs, out of consideration for Hiyori) and a few piping hot pumpkin pies that cooled almost immediately.

The weather had turned drastically after dusk had settled. Instead of blue skies over rolling hills and azure loughs were thunderous storm clouds that blackened the world around them.

The small lights of the cabins crawled through the gloom, the near-invisible snake of train carriages blindly taking its occupants to their destination and giving no hint of where they were or when they would arrive.

Rain lashed against the window in powerful waves, running in too many rivulets to count and battering the roof with deafening racket.

Yato leaned in the corner of the bench, arms folded. He listlessly staring out at the storm, wondering when they would arrive at Hogwarts. Yukine studied a book, scribbling notes with some sort of quill he had brought from home which did not need ink whilst Hiyori pointed out sentences and muttered quiet hints.

They were quickly cut off as the train lurched and the locomotive’s wheels screeched painfully on the tracks, throwing them all off balance and nearly tumbling to the floor alongside Yukine’s fallen book.

Yukine swore under his breath, rubbing his head where it had clashed against the window before reaching down to pick up his book. Right as his fingers closed on its spine, the lights flickered, blinked, and died.

“Bloody perfect,” Yukine muttered. He dropped the book on the short table in front of him. Lucky for some, the train’s sudden halt had not woken the stranger at all. “What happened?”

Hiyori shrugged, head turning to Yato who gave her an equally clueless look.

The train juddered again, cutting off Yato’s attempt to stand up and go outside, and making the windows rattle with a huge force. It was Yato’s turn to cuss before a hissed whisper made the cabin fall deathly silent.

“Look!”

Yukine’s reflection, bewildered in the window of the train, was vanishing. Not because the lights had returned, but because of a frost that glazed the pane with a soft crackling noise. Frozen fractals forming underneath Yukine’s hand which he had pressed up to meet the phenomena.

“Something’s out there,” he said in a hushed voice. His eyes trained on the darkness outside, straining to be able to see something beyond the sudden wintery occurrence.

The storm outside had stopped, almost suspended in time, giving an eerie silence to the entire train as students wondered alike if they had merely broken down, or if something larger was at work. They were in the eye of the hurricane, and the storm was about to hit.

Cold more intense than any winter he had known chilled the cabin immediately, leaking into the very cracks of his being where he thought it would be impossible to feel such a cutting frost. Their breaths clouded in puffs of white that formed and dissipated in the air with every short breath they took. Looking from one to another, Yato could see the matched quaking fear visible in Hiyori’s and Yukine’s wide eyes.

Nothing felt like this – nothing this unfeeling or sinister. Except for…

A movement outside the cabin caught his attention. Not at the window where Yukine peered out, but from the carriage hallway where, instinctively, they all turned to look.

A shadowed hand with bone-thin, elongated fingers stretched out against the frosted glass window, beckoning the door handle which opened with a frigid click.

It moved slowly, or maybe that was the feeling of suspended time that the trio could feel as their breath hitched. Their hearts pounded the blood in their ears so impossibly loud that they almost couldn’t hear the slow scrape of the cabin door sliding open. A tall figure blocked any escape, enshrouded in something that resembled cloth floating underwater; enchanting, free, but simultaneously terrifying, oppressive. Inhuman.

It inhaled a rattling breath as it straightened its skinny shoulders, the cusp of the thin black robes draped over its head revealing a wrinkled mouth similar to one of a rotting corpse. Its breaths deepened and as if smelling him, its head reared and its lips – if it had any – pulled back, leaving a black pit to greet Yato as he stared the harbinger death in the face.

A dementor.

Yato’s stomach knotted, the pit feeling in his stomach falling away and making him feel like he was going to hurl if terror would allow his body to move. The blood rushed from his ears to his head, but still he could hear nothing but the crazed electric pump of his heart slamming against his ribcage and the heavy breaths of the dementor which drew in more than air.

It’s happening again.

It was familiar. Not in the sense of nostalgic memories, but as the familiar feeling of the cusp of death – where the dementor was allowed to draw its victims life-force for just a tad longer than it was bearable before it was stopped, placated until it could serve its use again.

His body went limp when its inhales grew longer and deeper, his body twitching with every stolen breath. It was enough to make Yato’s chest explode with the desperation for air.

I can’t breathe.

I can’t breathe I can’t breathe I can’t –

The last thing he saw was a quick black shadow by his side, immediately replaced by a light so bright, so serene, that he thought this time the Dementor had fulfilled its task.

His eyes rolled white, and his mind was set adrift in a blanketed abyss.

 ~

 Yato jerked back to life -- or was this the afterlife? If it weren’t for the familiar ceiling of the Hogwarts Express – which had been illuminated by the now-functional lights – and his swimming sight of the cabin accompanied by the rhythmic clacks of the steam engine, he would’ve thought he was there.

A cold sweat drenched his body that left him shivering as his eyes stared up at the ceiling for a moment. Blinking, he tuned back into the world.

Yato’s head throbbed as he pushed himself up, a hand steadying him when he winced and pressed his palm to his temple.

“Easy there.”

That wasn’t Hiyori. It wasn’t Yukine. It wasn’t even Kazuma. The voice, gruff and deep, but in what sounded like a gentler tone of voice, spoke again.

“Eat this.”

The hand left his shoulder. With some shuffling of the person standing and rummaging through for something the other side of the cabin. A hard object fell into Yato’s lap a moment later, catching him completely off-guard.

His head swam, but the fog was clearing enough for him to gain his bearings. The first thing he noticed was that he was on the floor – he must’ve slipped right out of his own seat when he passed out. Yukine and Hiyori were still perched on the cushioned bench looking shaken, but nowhere near as bad as Yato when he saw the scared, searching looks they gave him.

His eyes slid away from theirs, ashamed that they had seen him in such a state. His eyes flickered to the figure standing over them.

He didn’t need to stretch to reach the shelf that hung above the seats; it was more of a challenge for him not to bump his head on them.

Brown eyes under a furrowed brown glanced down at Yato when he felt his eyes on him, mouth twisted into a thin line as he shoved the case back in its holding. A scruff of dark stubble sparingly patched his chin, giving way to short sideburns that grew into longer, thicker locks that had been slicked back from his face.

“Eat.”

Yato dazedly looked back down when the man pointed at the thing he’d dropped in Yato’s lap. Wrapped in paper and silver foil, a darkly sweet-smelling aroma filled his nostrils – chocolate.

Not comprehending the stranger’s kindness – or why exactly he had to eat it – Yato looked back at him for answers, but his heavy footsteps were already fading down the corridor as the cabin door glided shut with a dull thump.

The trio remained silent.

“Who’s that?” Yato asked stupidly after a long pause.

“He didn’t say,” Hiyori said quietly. Her eyes stayed trained on Yato’s as he grasped the seat and hauled himself back up, “What was that thing?”

“… It was a Dementor.”

“What the hell is a Dementor doing out here?!” Yukine burst out, catching them by surprise.

Hiyori looked between the two, a sense of dread overtaking her when she carefully asked:

“What’s a Dementor?”

“Dark creatures,” Yukine said, uneasiness evident in his voice when he cast a side long look at Yato when he continued, “they feed on happiness and consume a person’s soul.”

Hiyori looked like she was about to be ill, a shaking hand covering her mouth.

“Question is,” Yukine said, unsuccessfully trying to take her mind off it, “what’s it doing it here?”

Yato shrugged nonchalantly, feigning a carelessness at the ordeal. He didn’t exactly feel like discussing it, not when he still felt like there was part of him missing. One question nagged him:

“Why did it stop?”

“That man, he used a spell to make it leave,” Hiyori said. “I don’t know what it was…”

She looked to Yukine for help, but he shook his head, equally as clueless as Hiyori and Yato who gave a small frown.

“What did it look like?” Yato asked.

It was Yukine’s turn to look at Hiyori, slowly trying to find the right words which made no sense.

“It was like light, and water, but it was… shiny…” he said vaguely, moving his hands it the way the spell moved.

Yato’s small, exasperated sigh quietened the carriage again. His head had dropped again. The uneaten chocolate still sat in his clammy hand, and hadn’t gone unnoticed by Hiyori who kept a worried eye on him.

“You have to eat,” she said gently.

Yato nodded quietly. He snapped the bar in its wrapper before opening it, throwing pieces to both Yukine and Hiyori. He gave them a wry smile that didn’t reach his eyes as he stared at his reflection in the window. The ice had all but melted under the harsh pelting of raindrops of the resumed storm.

It had completely escaped his attention that the sleeping stranger was now gone, and that the man pacing down the hallway had just saved his life.

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[astrogrlz]

Yoongi Analysis

General Analysis:

Yoongi has a pisces sun and virgo moon. Pisces tend to be rather elusive but open vulnerability. They get this reputation of being dreamers or highly indulged in sleep because they are ruled by Neptune, the planet of the subconscious. Pisces suns are usually equipped with creativity, extending to all fields in art, music, and cinema. Virgo moon usually induces anxieties or inner tensions. Virgo is all about order and organization so a virgo moon may “organize” their feelings whether by making lists or mentally compartmentalizing things. Virgo moons are also known to have quirks or rituals, such as biting nails, tapping their foot, etc. Mercury is also in pisces. Mercury pisces are very disorganized, they tend to speak what’s ever on their mind, there is no sense of boundaries. Their voices tend to be smooth, very enticing and safe. Venus in aries shows a rather domineering approach to romance. Venus aries are very direct flirters--if they like you, they will make it pretty obvious. Aries venus benefits from competition in romances, in fact they get off on it. They also can fall in love pretty quickly as well as fall out of love. Venus aries tend to have short but high energy romances, because they operate very primal. Mars in cancer can be very passive-aggressive. They don’t necessarily blow up in people’s faces, but it is gradual and inconsistent.

Aspects:

Mars Opposite Uranus: He is a debater, he indulges in conflicts. Sex is approached with heavy hunger and speed. His opinions are very firm and he can very erratic.

Moon Opposite Mercury: There is a dissonance with his rational and emotional mind. It’s very hard to open up to others in a verbal conversation. Moon-Mercury aspects tend to be skilled in storytelling or other creative forms of writing. He is not very good at decision making as he may be biased or just very subjective. In oppositions, the individual usually favors one planet while the other acts out negatively. If he favors his moon, then his mercury will make him very anxious, disorganized, and incoherent. If he favors his mercury, his moon can make him emotionally inconsistent and volatile.

Venus Square Mars: He is very demanding when it comes to love. He can be sensual and warming, but he has a lot of expectations and he needs his partner to live up to them. When this aspect is not handled properly, it can lead to cheating, excessive spending and overindulgence whether it is food, alcohol, etc.

Venus Opposite Jupiter: He has a hard time accepting his competence in relationships. He may feel he can never adequately cope with relationships. He may seek social approval from others. There tends to be a big insecurity in this aspect but when it is handled properly, it can foster a great sense of creative expression.

Venus Sextile Saturn: May have a hard time accepting affection in relationships. This is harmonious, so he can be a stoic lover; prefers to have a very matured relationship.

Saturn Square Pluto: He may be divided whether to live his life in structure or destructuralize it and reinvent himself. He can be very selfish, highly pessimistic if this aspect isn’t contained. He may feel very constricted by societal constraints and his surroundings are very impacting on his nature; can be quite negative sometimes. Saturn is a very restricting planet, so when it aspects pluto there could be low self esteem especially when it comes to talents.

Mercury Trine Pluto: He may want to know more about you then you know about him. He may want to know your secrets even just by the look of an eye. He knows everyone has baggage and he is very interested to find out what that is.

Aries Ascendant/Libra Descendant: Aries risings tend to be very loud, never really floating in the background. They can be quite intimidating because mars ruled is in the first house. He may be outspoken and a bit hyped. Since Aries is in his first house, this means Libra is in his 7th house. When it comes to partnerships, he may prefer someone who is more balanced, peaceful and objectively equipped to balance his very impulsive Aries nature. So, he may gravitate or be attracted to libra types or people with a strong venus influence in their charts.

Interceptions/Duplications:

Virgo and Pisces are intercepted; therefore, he lacked pisces and virgo in his development. A Pisces interception could indicate a hard time falling asleep. This sign also rules dreams, so he may feel like his goals or ideals can never be reached but that’s what keeps him going and striving for more. He also may lack finding spirituality and may rely on someone else to guide him. Virgo intercepted can indicate lack of organization, he has no sense of routine and may find it hard looking at tiny details. He can have a hard time taking in information and sorting it out; he lacks the logical and analytical skills. Although, he has a capricorn duplication, so this allows him to overcome lack of organization. Cancer duplication allows him to feel secured at home.

Twelfth House Stellium and Interception: He has a 12th house stellium so the 12th house represents what cannot be seen. There is a lot of qualities of him lying beneath the surface. He can be elusive; reserved, but you can see the depth by looking at his eyes. 12th house intercepted could indicate self sabotage, a lack of intuition and very shattered dreams. If the 12th house is intercepted, the sixth house is intercepted by default. He may have a hard time taking control of his career, and feels he lacks some form of leadership quality or good work ethic. Relationships in career could be hard to maintain.

Planets Intercepted:

Sun: His ego and identity was denied praise. He may feel like he can compliment himself without someone accusing him of being vain; very low self esteem. He may find it hard to be generous or appreciate others because of the fear he might be spited. The sun represents the father figure, so he may have had a tough relationship with his dad; may not have been very supportive in his talents or in general.

Moon: His emotional nature was denied. He may find it hard to show emotion now that he has been injected into the real world. He may find it hard to get in touch with his vulnerabilities. The moon represents the mother so again, he may have had a tough relationship with his mom; she may not have been nurturing and supportive.

Mercury: He doubts his mental capabilities; he may have been told that he was intellectually inferior and while growing up, he was told to reject his curiosity. His mind may not have been prosperous in terms of imagination or free thought.

Saturn: He may lack the understanding of the karmic lessons provided by saturn. He has not been disciplined enough and may feel completely powerless when it comes to fixing his issues.

[bongjoonhot]

The Popularity of Bong Joon Ho

Background

Bong Joon Ho is one of South Korea’s most famous directors, and has been named by Ilgan Sports as one of the five “Power People” in the Korean entertainment industry [1]. He directed films such as Memories of Murder (2003), The Host (2006), Mother (2009), Snowpiercer (2013), Okja (2017) and Parasite (2019). By analysing these six films, I will assess Bong’s popularity as a film director in both South Korean and international markets, and the possible reasons for his success.

Popularity in South Korea

Memories of Murder was a box office hit in South Korea, and was the most watched Korean film in the country in 2003 [2]. This is unsurprising, as the movie was based on South Korea’s first serial murders, which undoubtedly left deep scars in the South Korean psyche. It is possible that the film’s popularity can be attributed to the desire to archive this event in history (Jeon, 2011), as the case went unsolved for more than 30 years. However, on 18th September 2019, the Korean police identified a suspect in the murders. Thus, some buzz about the movie was generated again:

A theme that was strongly represented in both Memories of Murder and Mother is the unreliability and brutality of police forces. In Memories of Murder, Detective Cho is seen kicking the suspects and abusing his power as a police officer. He later receives symbolic retribution when his leg has to be amputated. In both films, there is a scene wherein a mentally disabled person is forced to reenact the crime. This is a common practice in South Korea, but it has been criticised for creating unfair prejudice against the defendant (Hennes, 1993).

A video of a suspect reenacting a crime in South Korea.

Mentally disabled people are made the scapegoats in the crimes due to their inability to defend themselves – in Mother, Do-joon is released, only for the police to accuse another mentally disabled person without hard evidence.

The brutality and unreliability of police forces could have resonated with the South Korean people due to events such as the Gwangju Massacre, during which troops killed hundreds of civilians. Parallels can be drawn, as in both cases, authority figures abused the people they are meant to protect.

The Host was the highest grossing film in South Korea in 2006. The film’s success can be attributed in part to its political satire, as it was based on an incident where a Korean mortician working for US forces in Korea was ordered to dispose of copious amounts of formaldehyde down the drain – an incident which understandably caused some antagonism towards the United States. The film was released when news of the incident was in the press.

Bong was embroiled in a controversy this year, when an article was released alleging that he had ordered Won Bin to touch Kim Hye Ja’s breasts during the filming of Mother without her knowledge. This article was released in June, when the #MeToo movement had gained significant traction due to the large-scale investigation of male K-pop idols, who were accused of circulating spycam porn, amongst other illicit activities. Netizens also scrutinized a past interview in which Bong made explicit comments regarding sexual imagery in his films [3].

The top voted comment on the original Korean article, titled “Director Bong Joon Ho sparks controversy for allegedly ordering actor to touch an actress’s breast during filming”. The comment received 4,572 upvotes.

Kim Hye Ja later clarified her comment, saying there was no sexual assault and apologizing to Bong and Won Bin. Netizens expressed their anger at the situation and the media, as this news marred the announcement that Parasite had clinched the Palme D’Or at the Cannes Film Festival.

Netizen’s reaction to the article that announced Kim Hye Ja’s clarification.

Thus, while netizens are unwilling to condone seemingly immoral actions by the director, they are angered by the marring of Bong’s reputation when it comes to light that the issue is a misunderstanding. After all, he is a well-respected director who has done much to place South Korea on the global stage.

International Popularity

Snowpiercer and Okja were very well-received internationally, with Snowpiercer doing well in the US, Korean and Chinese markets, and Okja receiving a four minute-long standing ovation after its screening at the Cannes Film Festival. While it can be argued that having top stars like Chris Evans, Jake Gyllenhaal and Tilda Swinton act in the above films, definitely helped to put Bong on the map in terms of a mainstream international audience, Bong’s prowess as a director is clearly exemplified in the success of Parasite, which showcased a fully Korean cast and won the Palme D’Or at this year’s Cannes Film Festival.

It can also be argued that Snowpiercer and Okja being mostly in English helped with the accessibility of both films, which is true. However, Parasite was shot entirely in Korean and was incredibly successful in the global box office, which attests to Bong’s popularity as a director in his own right.

Comments on the official trailer of Parasite on Youtube

Okja also had to overcome the bias of the audience at Cannes, some of whom boo-ed when the Netflix title card appeared on screen, as some believe that the releasing of movies primarily on streaming platforms delegitimizes their standing as cinematic works.

I believe that the success of Bong’s films in international markets may be in part due to his strongly relatable themes, such as animal rights and the ethical production of meat in Okja. In a world where plant-based substitutes for meat are becoming increasingly readily available, and the mass production of meat is taking a toll on the environment, Bong’s messaging appeals to the emotions of the audience to encourage them to make more responsible food choices.

Another theme Bong explores is class differences and social hierarchy in Snowpiercer and Parasite. In Snowpiercer, the social hierarchy is shown in the literal separation of the train cars, and how the rights of those in the tail end of the train are negligible while those at the front of the train live in luxury. Very few of the occupants of the tail end make it to the front of the train car, creating an obvious metaphor for the hardship of upward social mobility.

This juxtaposition is also apparent in the differences of the living conditions of the Kim and Park families in Parasite, and the reactions of the Park family, who literally turn their noses up in revulsion at the smell of the Kims, to show the class gap between the families.

These aren’t Korea-centric themes, and these problems are present in every society to varying degrees, which makes them understandable and appealing to an international audience.

Conclusion

In my opinion, the magic of Bong Joon Ho’s films lie in that they are understandable and relatable to a large audience. I also feel that Bong’s fame was propelled by the fact that many of his themes are topics on which people tend to have very strong opinions.

I believe that, while Bong may not have the same reach as a Hollywood director for now, he is a force to be reckoned with and has the potential to bring even more international attention to the Korean film industry. The recent award at Cannes also played a big part in placing Korean cinema on the map, and I’m sure that many people will be anticipating Bong’s next project.

  [1] Bong shared first place with Cho Yong-pil. The survey was conducted among 100 industry insiders.

[2] Memories of Murder was eventually beat by Silmido, which was released near the end of 2003. However, most of Silmido’s audience watched the movie in 2004. Source: http://www.koreanfilm.org/kfilm03.html

[3] Said Bong: “I really like narrow and long images. So when I thought about filming Snowpiercer, I was so aroused. I was going crazy over the sexual arousal. From the outside, the train is the male’s genitals and from the inside, it is the female’s genitals. The tunnel is the vagina and the train becomes the penis and when it is inside, the inside of the train then becomes the vagina. It speeds through inside the train and so I was so aroused by it.”

 References:

https://n.news.naver.com/entertain/article/241/0002960973?

http://www.koreanfilm.org/kfilm03.html

Jeon, J. J. (2011). Memories of Memories: Historicity, Nostalgia, and Archive in Bong Joon-ho's" Memories of Murder". Cinema Journal, 75-95.

http://world.kbs.co.kr/service/news_view.htm?lang=e&Seq_Code=148119

Hennes, D. B. (1993). Manufacturing evidence for trial: The prejudicial implications of videotaped crime scene reenactments. U. Pa. L. Rev., 142, 2125.

https://www.scmp.com/news/asia/east-asia/article/2172098/gwanju-apology-south-korea-sorry-rape-and-torture-committed

http://www.koreanfilm.or.kr/eng/news/boxOffice_Yearly.jsp?mode=BOXOFFICE_YEAR&selectDt=2006&category=ALL&country=ALL

http://english.chosun.com/site/data/html_dir/2006/08/11/2006081161014.html

https://news.nate.com/view/20190605n07044

https://www.koreaboo.com/news/director-bong-joon-ho-controversy-actress-breast-touch-actor-mother/

https://www.soompi.com/article/1330119wpp/kim-hye-ja-clarifies-comments-about-director-bong-joon-ho-after-controversy-says-there-was-no-sexual-assault

https://www.boxofficemojo.com/movies/?id=snowpiercer.htm

http://www.koreanfilm.or.kr/eng/news/reports.jsp?pageIndex=2&blbdComCd=601008&seq=257&mode=VIEW

https://www.boxofficemojo.com/movies/?page=intl&id=snowpiercer.htm

https://www.hollywoodreporter.com/heat-vision/okja-netflixs-cannes-premiere-gets-four-minute-standing-ovation-press-screening-snafu-1005530

https://www.screendaily.com/news/will-parasite-deliver-the-biggest-box-office-ever-of-any-palme-dor-winner-/5140228.article

https://www.theverge.com/2017/5/19/15662542/netflix-cannes-film-festival-booed-okja-premiere

https://akajustmerry.tumblr.com/post/162394406757/vegans-out-here-claiming-that-okja-is-a-pro-vegan

https://www.engadget.com/2019/09/25/impossible-burger-is-now-available-at-east-coast-grocery-stores/

https://www.israel21c.org/18-israeli-startups-that-can-improve-our-diet-and-help-save-the-planet/

https://www.koreatimes.co.kr/www/art/2019/06/689_269700.html

[aaroncutler]

June 25: The link above leads to the English-language list of prize-winning films at the sixth edition of the Brazilian international film festival Olhar de Cinema (“Cinema View”), whose most recent edition took place June 7th-15th. The same list can be found in Portuguese here. 

I worked as one of three programmers of feature-length films for this year’s edition of the festival, which led me to regard the prospect of awards with a mixture of excitement and regret. An award or mention can always help a film, even if in a small way, and the giving of prizes should therefore be cherished. At the same time, there will inevitably be a number of great works that do not take home honors, and a programmer must hope for potential spectators to continue to discover these films as well. I hope for readers to discover all of the films that screened in Olhar de Cinema this year, and for these films to have further screenings in Brazil and around the world.

The festival’s three principal juries (each comprised of three members) made their decisions independently, without soliciting input from each other or from the festival’s programmers. All nine of the jurors approached their work with great seriousness and senses of personal responsibility, and I would like to thank Marcelo Alderete (New Views), Mónica Delgado (Other Views), Philippe Gajan (Competition), Lili Hinstin (N.V.), Luís Fernando Moura (O.V.), Guto Parente (Comp.), Barbara Rangel (O.V.), María José Santacreu (Comp.), and Ulrich Ziemons (N.V.) for their presences at Olhar de Cinema this year. They were all fine professionals, dream audience members, and wonderful guests.

When I look at the list of prize-winners, some impressions about the festival’s programming strike me, particularly in relation to the top award-winning features of the three competitive international sections: Kevin Jerome Everson’s Tonsler Park (New Views), Tatiana Chistova’s Convictions (Other Views), and Joshua Bonnetta and J.P. Sniadecki’s El mar la mar (Competition). The impressions that I will list here are my own, without any effort to speak for those of other people.

1. It strikes me initially that all three of the films deal directly with processes connected to citizenship. Tonsler Park shows members of a historically disenfranchised group of people (African-Americans) voting, learning how to vote, and helping others vote on 2016’s Election Day in the U.S.A. Convictions presents a series of interviews between members of Russian draft boards and young Russian men seeking deferment from military service (some of whom ultimately prove successful). El mar la mar relates, in largely elliptical fashion, encounters between individuals who have crossed the Mexico-U.S.A. border illegally and individuals who have greeted them (whether intentionally or by happenstance) on the other side. The film registers people perceiving a humanity shared between them as citizens of the world.

2. During a year in which Olhar’s selection of new films contained clear and strong examples of fictional narratives, feature-length documentaries, and overtly experimental endeavors, the juries opted to grant their top prizes to three films that I feel comfortable calling experimental documentaries. Each film takes a different aesthetic approach to its work in this ever-expanding genre, with Tonsler Park falling closest to pure observational filmmaking, Convictions to political activist cinema, and El mar la mar to what Maya Deren might have called a “film-poem”. Yet each of the films is also open enough in its form to contain elements from other genres such as fiction (or, if one prefers, fictionalization), along with a critical capacity for self-questioning and reflection on how disparate elements might fit together.

3. It is possible that these three films were the lowest-budget works in their sections. I am confident that they were all in the bottom halves. Tonsler Park was recorded entirely in one day by a prolific artisan and his small crew and met its world premiere less than three months afterwards. Convictions was shot on low-grade digital equipment by teenagers at its director’s behest, resulting in crude and startling material that contains all the technical defects one would expect as necessary components of the work’s force and power. El mar la mar, a film realized across two countries, was made virtually in its entirety between two tremendously talented people, the listing of whose names in sources stating the film’s credits reaches comic heights of repetition. Every film faces challenges on its way to being born and greeting the world. These are three compelling test cases.  

My impressions collectively lead me to believe that the festival’s juries acted bravely in their decision-making, even if individual members disagreed with the results or, to the contrary, followed impulses that were obvious to them. There were many great films of larger or comparable scales in the festival whose prizes would have been justly awarded, but the particular conjuncture of these three particular titles, to me, sends a democratic message. I find in the grouping a bold but humble suggestion that many different kinds of films can be considered equals. And why not?

The juries’ decisions inspired some comments that I made on the last day of the festival, post-awards night, while introducing the reprisal screening of Tonsler Park. I include here a revised and expanded version of these remarks:

“An interesting coincidence is that the New Views jury, which gave its top prize to Tonsler Park, awarded a Special Mention to another film in the section, John Torres’s People Power Bombshell: The Diary of Vietnam Rose. Interesting because the American Everson and the Filipino Torres are friends, and because Everson has frequently cited films by Torres and other directors from the New Philippine Cinema as influences on his own practice. 

“More coincidences: Another filmmaker from this group that Everson has cited as an influence is Khavn De La Cruz, who was represented in Other Views this year with his film Alipato – The Very Brief Life of an Ember. And John Torres, in addition to his connections with Khavn and with Kevin, is friends with the Thai filmmaker Anocha Suwichakornpong, who was the subject of Olhar de Cinema’s Focus section this year. During her time in Curitiba, Anocha told me about her admiration both for Torres and for Everson as artists, and she expressed a desire to see their new works.

“More coincidences: The American filmmaker J.P. Sniadecki, one of the two co-directors (with Canadian Joshua Bonnetta) of Competition winner El mar la mar, is friends with the Chinese filmmaker Xu Xin, who directed the Other Views entry A Yangtze Landscape. Xu Xin even invited Sniadecki to join him on the boat trip that resulted in A Yangtze Landscape, and although Sniadecki missed going, he watched the recorded material with excitement afterwards.

“The Chilean-American filmmaker Niles Atallah, whose Competition film Rey received a Special Mention this year, is an admirer of the great Chilean documentarian Ignacio Agüero. Atallah even appears speaking about his film in an interview in Agüero’s latest feature, This is the Way I Like It II, which played in Olhar de Cinema’s Special Screenings section. Niles attended Olhar this year with a desire to accompany the festival’s F.W. Murnau retrospective, but while he was here, he also watched This Is the Way I Like It II projected for the first time.

“The Spanish filmmakers Chema García Ibarra and Lois Patiño faced each other in separate programs of Olhar de Cinema’s Short Film Competition this year with their respective films The Disco Shines (filmed in Reha Erdem’s homeland of Turkey) and Fajr (filmed in Morocco). The two are good friends, and they met socially in Madrid a few days before their works screened in Curitiba. 

“Even Curitiba’s own João Castelo Branco – co-director, with Elizabeth Moreschi, of a beautiful documentary about childrens’ inner lives called Scribbles, Doodles and Other Monsters that screened in New Views – worked as the cinematographer on Guto Pasko’s Mirada Paranaense entry Among Us, the Stranger, an observational record of the Ukrainian community in the Brazilian state of Paraná.

“I mention all these connections in the interest of saying that independent cinema – independent both in its vision and in its spirit – is a global community; and that any film made with this vision and spirit, in any part of the world, immediately enters into dialogue with the rest of the world, including with all of you. We hope for you all to have good screenings of these films, as well as good conversations.”

*

Now that the festival’s sixth edition has concluded, I would like to note an aspect in which I found my work for the most recent installment of Olhar de Cinema to be rewarding. The work quite simply expanded my horizons, and it has made me want to continue pursuing both internal and external discoveries.

Some of the most crucial discoveries that I have made recently have been of films that did not screen at Olhar de Cinema. There were numerous inspirational works that I watched during the past several months that, for various reasons, the festival could not present. In keeping with this post’s pattern of three, I therefore wish to cite three additional films that have premiered since last October, that did not screen at Olhar de Cinema, and that continue to grow inside my mind, with the hope that these films can continue their travels and be seen as widely as possible. 

Lidia Sheinin’s Harmony, Alexandre Koberidze’s Let the Summer Never Come Again, and Sompot Chidgasornpongse’s Railway Sleepers are all humanist works that look backwards and forwards at once. They propose formal innovations particular to their current moment while also studying the delicacies of human figures in motion in ways that gently and even sweetly harken back to cinema’s inception. The world is richer for the unique presences of these independent films, and for all other wonders like them.    

[thegirlandfilm]

Across the Niger: Authenticity and Internationality

West African film is not defined as a particular genre, like perhaps the Western or Film Noir is as considered by critics. These genre’s have particular notable aesthetics that are consistently reused as an act of fidelity to the artistic goals of the movement itself. West African film can be understood more simply as National Cinema. With this understanding in mind, it is much more difficult to discern whether a film ascribes to a particular aesthetic, and if this maintaining this aesthetic is even necessary to define a film as West African. This essay will discuss the elements of Ojukwu’s Across the Niger (2004) that are distinctly and intentionally part of the West-African aesthetic, the aspects that diverge from Nigerian culture to be globally appealing, and resolve that Nollywood films are capable of being both authentic and international. Across the Niger can be used as an example of Nollywood’s flourishing film industry that is capable of success beyond Nigeria’s boarders, while also maintaining an aesthetic that is culturally specific to Nollywood.

The lack of funds available for production heavily influences Nollywood film’s aesthetic elements. This lack subsequently results in unintentional affects such as outdoor lighting and realistic settings. However, there are many aesthetics of Nollywood films that appear unintentional but have been critically and thoughtfully planned. In her work “Storytelling in Contemporary African Fiction Film and Video”, Dovey navigates through these aesthetics to determine which are formed unintentionally and which are developed through artistic thought. It is discussed in Dovey’s argument that the long takes, which are a signature of Nollywood editing, is an unintentional element. Many takes are elongated to ensure that the film lasts the length of a bus journey, or to delay the narrative in order to create sequels (Dovey 97). Although this editing staple may be unintentional, it has come to create a recognizable Nollywood aesthetic. Conversely, The themes of the films are intentionally focussed on themes of relatable social issues like legacy and inheritance, husband snatching, prejudice, and child abandonment, all set within a local context. Across the Niger demonstrates many of the “local aesthetics” that have come to define West African Cinema. This film diverges from Western standards of what should be presented in West African film; the film does not center around colonialism, though effects of colonialism are inevitably present, and does not feature the same issues that European financed Nollywood films do, such as HIV/AIDS, poverty, discrimination, or children on the street. (Okome 31). In the case of Across the Niger, the social issues and themes of Habiba and Dudems’s relationship are told through a journey that is set in the specific context of the Nigerian civil war between 1967-1970.  Critics of Nollywood will often downplay the artistry of films, reducing them to amateur and overly dramatic works. However, Dovey contends that this dramatism is much more intentional than it appears. When thinking about film’s relation to Nigerian oral storytelling,  “a particular kind of adaptation and visualization of oral and spoken narratives is thus at work in the video films” (Dovey 96). Nollywood films must not only be read in relation to “reality”, but  must be acknowledged as a cultural transformation of story telling. Thus, the blatant dialogue and dramatic acting can be seen as a result of this transformation of West African oral storytelling into the film medium, and not merely as a cinema lacking in artistic thought. The editing is also more thoughtful than it may seem to those viewers accustomed to Hollywood films. Nollywood gives preference to wide and long rather than close ups, unless during a particularly emotional scene.  The film’s use of editing is consistent with the majority of Nollywood films; most scenes are a compilation of long shots, with the exception of highly emotional scenes. When Habiba expresses emotional depth, close ups of her crying face fill the screen. This occurs twice - first when she tells Dudem to let her leave his village, and again during the film’s climax after Dudem is shot and she expresses that her love is “full like a river”. Nollywood also favours minimal editing and scenes that enhance the emotion through visual and aural effects. These techniques are thoughtfully used to tell the story in the most emotive way. Across the Niger exemplifies this style of storytelling through Habiba, Dubem, and Nneke’s complicated relationship. The drama and obviousness of the narrative can be seen in the scene in which Nneke attempts to seduce Dubem. In an alternative Hollywood rendition of this scene, Nneke’s motives might be more ambiguous. Yet in the film, Nneke’s motives are made clear by King Igwe’s advisor, who repeatedly tells her she must make Dubem fall in love with her by sleeping with him. This allows for the audience to understand the story without any confusion or ambiguity, much like the way traditional oral stories are narrated.  

Across the Niger tells an authentic story through Nollywood techniques, while also subtly catering to a foreign audience. Ojukwu’s decision to film in the English language can be read as a small choice directors can make which allows their film to be potentially internationally successful. In his writing “Postcolonial Artists and Global Aesthetics”, Adesokan states, “most of the Nollywood films that circulate globally are in English and rely on standard  generic conventions, even though, as the UNESCO figures show, more than half (56%) of Nollywood releases  are in Nigeria’s three major local languages” (Adesokan 83). It is clear by this statistic that films that choose to use English, like Across the Niger, are allowing their film to be appreciated globally at the risk of being less culturally authentic. It could be argued that this film is less Nigerian due to its English language, and relinquishes its cultural specificity in order to cater to a global audience. However, the use of the English language does not affect the films local popularity, as “English language Nollywood films resemble television soap operas in Formal Terms, and travel better among Africans” (84). What may affect Across the Niger’s cultural authenticity is its apparent lack of African spiritual beliefs within the tribes culture. Andrew Rice notes the importance of these beliefs, “Nollywood movies, both old and new, often play on traditional African beliefs about magic and spirits” (Rice 1). Conversely, Across the Niger does not focus on spirituality, rather it replaces spirituality by focussing heavily on tradition and politics between tribes and families. The reason for this omittance could perhaps be explained by the desire for this film to be accepted by a foreign audience who may hold different beliefs. The stories in “Nigerian films with strong doses of the occult (or ‘black magic’) have had a particular hold on the popular imagination. These occult forces are banished in the narratives of many of the films via the Pentecostal Christian practices in scenes that are often a source of amusement for secularized, Western audiences...it is harnessed to a project of a Westernized system of commodity consumption” (Dovey 93). The lack of spiritual theme’s in Ojukwu’s film is not a commonality among Nollywood films, and reveals the desire to appeal to foreign audiences and also project a representation of modernizing Nigeria.

Across the Niger utilizes the aesthetic principles that have come to create the formula for as successful Nollywood film,  yet the film is still understandable to a foreign audience. Many specific elements of the nation’s history and culture may loose their significant to a foreign viewer, but the human elements of romance, prejudice, love and sacrifice can be equally relatable to any viewer. The film is definitively West African and adheres to a very specific local aesthetic. However, the film is also able to reach beyond its Nigerian boarders and be relevant globally. Nollywood films are successful in St. Lucia, and trade to the Middle East, Hong Kong, United States and South Africa and the United Kingdom (Dovey 102). Unfortunately, the aesthetic elements of Nollywood are perceived as “awful, marred by slapdash production, melodramatic acting and ludicrous plots” (Rice 1). Okome notes that Nollywood is constantly criticized for “lacking depth, artistic and technical quality” (Okome 33). However, despite its lack of technical success, I found the films narrative and particularly Habiba’s struggle with love and discrimination to be particularly moving. In this sense, the film is full of narrative depth, and one cannot denounce its artistic elements. Despite the low budget effects, unrealistic battle and melodramatic acting, the film is still capable of evoking a high degree of emotion in a non-Nigerian viewer.

In conclusion, through the analysis of Across the Niger, it can be seen that Nollywood cinema has a specific framework of aesthetic principals that are intentional in their effects. It can also be seen through this film that subtle choices are made in order to cater to an international audience. Although the film is able to appeal to foreign audiences and strays from some of the typical tropes of Nollywood films, it  is distinctively representative of West Africa and only West Africa, proving that a film need not reject all foreign influence in order to be authentically national.