#and them finally confronting it being what allows them to both evolve by being true to themselves

[chirpsythismorning]

Byler is a slow burn y’all!

While it’s possible milkvan could break up in early s5, or maybe they consider their fallout in s4 their breakup and are only now addressing it and how they’ve realized they’ve been better off as friends over the last year, it’s still gonna take some time for byler to confront everything over the last few years and both get to a point where they have clarity about their own feelings and finally accept that the other one feels the same.

I don’t think there’s enough time to explore all of that before Mike and El have that talk on the roof, or even shortly after that, even if it’s post-time jump.

It will still be interesting to see where Mike and Will are at in their relationship by the time the time jump rolls around.

It’s unlikely the painting will have been addressed without us witnessing it, unless they decide to throw in a flashback at some point if it happened during the time jump.

Which means there is still a lot they need to talk about, let alone for them be literally dating.

I think it’s also possible Will won’t know Mike and El are over for real, not until Mike or El tell him and the others.

What this might result in is an episode or two of Mike pining for Will (single 😁) while Will is none the wiser and maybe even trying to keep his distance, now under the assumption that Mike wants space to be alone with El since they’ve finally reconciled once and for all.

There’s gonna need to be episodes exploring their dynamic as friends that can be something more if they want to be and how they navigate that and how obvious it is that, in contrast to Mike and El, while they are indeed friends, they work even better as being something more too.

They’ve invested the entire series to building this up, in a way that most of the audience missed. They need to spend some time now making it obvious so that people can rewatch a lot of their scenes for what they truly are (romantic) now that they know the truth, as opposed to just being ambushed with them being together.

I need people that didn’t even want it to happen to have to endure the tension all season long, to the point where they’re screaming at their screen JUST KISS ALREADY! GET IT OVER WITH! JESUS CHRIST!

[queenrei]

Let me start by saying, this is a Libra STAN account 🗣...I've always identified as a Scorpio (Tropical) sun, but ever since I finding out i'm actually a Libra (Sidereal) sun, I've been diving deep into learning more about Libra energy. I've always had a little interest in it, being that I was born on Scorpio-Libra cusp.

Scorpios may have a bad rep for their darkness, vengefulness, and secretive nature, but it turns out that Libras have it even worse 🙃 From the term "lying ass libra" to being labeled as shallow, fake, and two-faced, Libra's reputation is not great. Honestly, I get it and understand. I've definitely been guilty of all the stereotypes, and I've been actively working on correcting them as I grow/evolve. But I can't help but get frustrated by people's narrow-minded views (and that goes for all pop-astrology btw) to think that all people of one sign all behave the same way is nonsense...The sun is in it's detriment in the sign and as a Libra sun, throughout my life, I've felt a constant struggle between my true self and the expectations of surroundings. It's not about being fake or two-faced, but rather, I've come to realize that I possess a chameleon-like ability to adapt to any environment. I actually really appreciate this trait as it has allowed me to explore various experiences and meet new people due to my open-mindedness.

When it comes to being shallow or a people pleaser, it's actually deeper than it seems. Personally, I consider myself an empath, cliché as it may sound. Putting myself in someone else's shoes is my natural instinct. So even if someone annoys or upsets me, I can put on a nice face and keep the peace. Why? Well, first of all, I don't like upsetting people. But it's also a peace thing for me. Trust me, it's not just about being shallow or wanting to please others. It's about empathy and finding harmony. It's exhausting argue and go back-and-forths with people Sometimes, it's just easier to handle things with kindness. I know it's not the best approach, and it is one of my toxic traits. Not caring about people's opinion is a challenge, but I'm improving over time. I admire those who speak up for themselves, even if it leads to conflict. I'll get there. However, I also value my peace, so I'll always choose my battles wisely. One thing I've stopped doing is talking shit behind people's back after playing nice. It's not something I'm proud of.

Another point to make, and it might upset some people, but whatever. We have this reputation for playing both sides of the fence, which makes people think we're disloyal and fake. But the truth is, we can see things from all sides and look past the surface. Sometimes people will vent to me, but they get annoyed when I try to understand the other person's perspective or point out their own misconceptions. Then, will try justifying their delusions or getting mad at me for not taking their side. I'm done with it now. As adults, it's crucial to empathize with others before shaming/invalidating them. I'm all about playing devil's advocate, especially if it helps someone confront a harsh truth they need to hear. I used to bite my tongue, but now I couldn't care less. Especially when it comes to people close to me, honesty is key. No need to sugar coat things just to make yourself feel better. And I hope they'd do the same for me. That's what keeping the balance is really all about, in my opinion.

Ok my last & final thought is Libras are definitely not as shallow as some people think. I mean, seriously, have you ever actually tried to have a deep conversation with a one? When it comes to delving into the depths of our minds, it requires a certain level of comfort and trust. And trust me, my mind is always spinning, and it can get pretty damn dark. I thrive on deep conversations and can go for hours about a topic. I have a few people that I go there with, and even then I usually wait for that opening or invitation to go deep, and then it's off to the ocean floor we go. It's all about the vibe I get from the person. So, don't underestimate Libras, because there's more depth than you think.

Wow, i wasnt expecting to go in like that for my first post lol. This was in no way a sympathy call for Libras, but its been on my mind and i felt the need to let it out. I love all astrology takes so feel free to express your feelings/thoughts.

[midnight-in-town]

@deripmaver

Oh my God, I wonder how you knew this is about Berserk ?!! *falsely shocked*

Just kidding. Anyway to state it loud and clear, my personal opinion is that Berserk clearly depicts during the Golden Age that, even though Casca and Guts started to acknowledge having romantic feelings for each other, Griffith was in no way excluded from their little trio as a result. Because romance and friendship can both equally matter.

However, on top of having lost his dream, being tortured for a year and all, Griffith also painfully realized that, during his absence, things had changed and that he wasn't at the center of their little trio anymore. He wasn't excluded, he just became a regular third member of their little friend group, instead of the epicenter he used to be and that stung.

It's true that Guts and Casca used to revolve around Griffith. Until Guts realized that he had to leave and fulfill his own dream, to be the friend Griffith depicted to Charlotte.

Until Casca got tired of leading the Band of the Falcon to protect his dream and realized she could exist with dreams of her own.

But Griffith was still extremely important to them then, as a comrade and as a friend, which is why they bet it all to rescue him and that's what he failed to understand.

All that to say, the real tragedy of the Eclipse is that trauma for Casca and Guts stems from all the horrors that they witnessed and the comrades they lost, but also from the fact that, as a close friend, Griffith betrayed both of them.

I said it before and I’ll sing it as many times as I have to : the precise reason Casca survived the Eclipse is that 1) within the narrative, the Skull Knight intervened and saved them and 2) outside of the narrative, Griffith would have instantly killed Casca instead of raping her, if she hadn't been just as "guilty" in Griffith's eye as Guts for his jealousy.

Raping Casca was not only about punishing Guts for choosing Casca, it was also about punishing Casca for choosing Guts, instead choosing him, Griffith, because he failed to see that he still greatly mattered to both of them, despite them having fallen in love with each other.

Because Berserk is about the dynamics between Guts, Casca and Griffith. Not only about Guts and Griffith.

So Casca dying during the Eclipse and idk "being replaced with another WoC for the sake of representation" (what a horrifying concept) would have made no sense, thematically speaking and, mostly, wouldn't have allowed Guts to evolve beyond his days as the wrathful "Black Swordsman" later.

Guts started to change from the moment she was back into his life, even if she was just an empty and broken shell of herself as Elaine. Protecting her and then trying to bring her old self back finally gave him a purpose beyond revenge, something tangible to hope for.

Last but not least, now that Casca is back, the fact she was almost immediately taken away by Griffith to Falconia is incredibly important for her own agency, because it will allow both her and Guts to confront their trauma independently from each other.

TL;DR Griffith made the exact same mistake as these fans who claim Berserk is about Guts vs Griffith. He thought that because Casca and Guts became close that meant they had no room or love left for him.

Jealousy is a bitch. Not that it matters, now that he was reborn as Femto and used their previous friends' son as a vessel for his incarnation. ¯\_(ツ)_/¯

For real though, the main issue I have with ship wars between one mlm ship and one het ship is not even that the character who gets slandered is automatically the woman (duh), over some obscure concept that her writing is suboptimal while the mlm dynamic has more depth or whatever

No really, it’s more the fact that ship wars exist simply because society once decided that somehow there needs to be a hierarchy between romantic dynamics and platonic (ie friendship) ones, with romantic ones necessarily having more importance and significance for the characters involved (same for people irl).

Therefore it is my belief that over 90% of ship wars wouldn’t exist, if most fans didn’t feel the need to systematically give more emotional weight to romantic dynamics over platonic ones, and that even when the writers themselves gave countless examples within the narrative that both mattered independently for the characters involved.

TL;DR love exists in all shapes and forms and doesn’t need hierarchy or comparison to be validated

No one asked for it, but I said what I said.

[zivazivc]

Pinocchio AU

Okay people want the explanation for this comic so here it goes. It’s long and complicated and MESSED UP because of course it is, this is me. I’m going to write in points because my small tired brain can’t handle good english atm but basically to sum up the Adrien was a sentimonster theory or Pinocchio AU as I like to call it:

Young married Emilie and Gabriel can’t have kids. Gabriel reluctantly accepts this fate and even brings up adoption as a possibility once, but Emilie doesn’t want to hear any of that. She’s a bit of a Marinette in the sense that she pictures this romanticized ideal life for herself and a child—her flesh and blood—HAS to be in it.

They keep trying to get a baby while other young families Emilie knows keep growing. She feels left out and hurt and depressed, then her newlywed twin sister announces she’s expecting a baby too and something within Emilie just unhinges.

She eventually lies to some of her friends, who she was out for coffee with, that she’s pregnant too. She mostly does it just to see their reaction and feel what it would be like but it quickly spirals out of control where she just starts pretending she’s pregnant until you can’t even tell if she believes it herself.

Gabriel is confused at first because he hears the news second hand (a friend/family member congratulating him) so he’s apprehensive when he approaches his wife but she convinces him that they really are getting a baby and Gabriel is ecstatic.

It’s only later at a doctor’s check up that Gabriel learns that she indeed is not pregnant. The doctor even speaks to him alone explaining that his wife is in denial and that he should make sure she goes to see a psychiatrist, something she definitely wouldn’t do alone.

Gabriel is unsuccessful with that because he’s not entirely persistent, doesn’t want to be the guy with the crazy wife having to tell everyone she lied about being pregnant, and hopelessly believes she’ll just get over it eventually.

That is until her “pregnancy is near due”—her sister already had Félix in England a few months ago—and he stumbles on her transformed with her peacock miraculous (they already have both of them) creating a sentimonster newborn.

They have a huge fight about it but because Emilie refuses to destroy it, won’t tell Gabriel where the amok is, and Gabriel can’t just hurt the baby with his hands, Emilie just… wins. Fucked up, yeah?

Now she tried creating kids before this one, using her imagination to try and blend her and Gabriel’s looks but it just wasn’t working. So she decided to copy of photos of baby Félix because he already looked almost like a copy of his mother, and Amélie and Emilie already looked alike so it’s not so weird?—is what her mind was telling her.

She didn’t dare alter his looks but she decided to give the baby Gabriel’s eye color to include the “father” in some way. (Yes in that comic I made I gave Adrien a mix of green and gray but that was mainly to get the point across to the perceptive readers)

Now we got Adrien, a normal baby boy to the whole world except for Gabriel who’s forced into his wife’s fantasy through social expectations.

Why are we only at this point and this post is already so long AAAAAAAA!!!

Adrien physically basically grows in a way where Emilie just keeps changing his appearance to match what Félix looked like a few months prior.

Mentally he’s like a robot just taking in information without really needing to learn it. So Emilie decides when he says his first word, she decides when he learns to walk,… He knows how to walk, he just wasn’t given the command to do so yet.

But even so he does develop a personality over time, just slower, because unlike a normal child who’s always testing his boundaries, how far they’re allowed to go until they’re in real trouble, Adrien just can’t misbehave. At all.

But he does have his favorite foods and favorite toys, and jokes that make him laugh the most. The problem is just that Emilie could just decide that his favorite food is strawberries and he’d just start acting accordingly, rewiring his belief. 

He also isn’t allowed to argue or be mean to others which is why Félix thinks he’s a goody two-shoes weirdo while Chloé the brat adores him.

This behavior isn’t so hard to hide with a toddler who’s fickle but it’s harder and harder as the kid grows. Which is why the family becomes very secluded over time.

Gabriel always keeps distance with his “son”. He’s not Dad, he’s Father, he doesn’t do hugs and cuddles, he doesn’t say I love you. But Adrien knows he loves him because his mom told him so and he loves him back unconditionally because Mom said that’s what families do.

Now even though Gabriel is traumatized by this whole ordeal and knowing Adrien “isn’t real” freaks him out he does soften a bit over time. I’m going to give an awful example but like someone who hates cats softening for a cat that their partner/roommate decided to get/had from before. Continuing with this example: But still becoming appalled when the cat starts acting odd/unusually.

Okay I think you get the gist. Let’s move on…

Emilie loves her son more and more as he grows and his sentimonster behaviours start bothering her more and more too. She hates being reminded that he’s not a real boy by people mentioning he looks young for his age because Emilie forgot to make him grow for a while. She hates when he does everything like he’s told. She hates that he has no real friends because they’re afraid to expose him to the outside too much and without supervision. She hates to think about his future.

Her desire for him to be real keeps growing and is what drives her to search for a solution in the miraculous spellbook.

She cracks the script after years, when Adrien is nearly a teen, and finds a way to transfer the creators soul into a sentimonster.

It’s a long process that takes time and while she falls ill to everyone around her, Adrien becomes more real.

Gabriel starts realizing what’s happening when he notices Adrien hesitate for a second when he’s playing a video game and Gabriel wants him to do something, groan when he gets bothered watching TV, huff, complain, have slightly opposing opinions to his and Emilie’s, when he argues with his mother when she tells him she’s feeling fine; when he notices his son’s eyes are greener. Or is it all in his head?

He confronts his wife too late, when she’s extremely ill already, her normally vibrant eyes dulled match Adrien’s bluish gray, and he pieces together in his head what she’s doing.

Before Gabriel could properly think what to do to stop the love of his life from turning into a lifeless doll, in a fit of panic he tries to take her wedding band (where he knows Adrien’s amok is) to get rid of Adrien instead, but is unsuccessful in getting it off her so he snatches her peacock brooch instead (which she needs to complete the spell obvs) and breaks it. (Heyoo! broken peacock miraculous. things are coming together)

Because the spell was almost complete anyway it’s Emilie who falls unconscious. But she doesn’t disappear because she’s not a real sentimonster, she just becomes dormant like one.

This is the point in the story where Gabriel makes it seem like Emilie ran away or something like that—basically disappear. Now he’s living knowing he has an almost sentimonster wife in the basement, knowing he almost killed his son (or her), and having to care for a son that suddenly became much more alive, questioning, arguing, angry, screaming, not accepting, crying, grieving, staring at him with Emilie’s eyes.

Instead of becoming a real parent, Gabriel shuts him out.

Soon Adrien evolves desires for socializing, company, getting away from the suffocating home which eventually leads to him going to a public school.

He slowly starts to live life freely without the restrictions that were put around his thoughts.

Gabriel has an even stranger relationship with Adrien now because he still loves him in a way but also holds resentment toward him. But mostly he sees him as something valuable.

The show happens here…  And now finally we get to the comic…

Gabriel gets a hold of the ladybug and black cat miraculouses. (There’s no epic fight in his lair as you see there’s no Ladybug in the comic but that’s not really important)

What’s important is that Gabriel had deciphered the miraculous spellbook with the help of Emilie’s notes and had decided to use the unification’s “wish” power to awaken Emilie.

He’s aware he’ll need to sacrifice something for the wish to come true and he’s certain Adrien should be enough because the soul inside him is literally the one thing Emilie is missing.

✨Adrien (poor boy just lost his miraculous) is taken to Gabriel’s lair, where he finds out his father is Hawk Moth, sees his mother, learns he’s a sentimonster, and that he’s going to become a sacrifice ✨

Of course the last part is not what happens. It’s Gabriel who ends up being sacrificed.

I can’t decide if Gabriel ends up sacrificing himself because he changed his mind in the last moment while Adrien was screaming for him to stop, OR  because he didn’t love Adrien enough for him to be considered an equal exchange for his wife… O.O

But anyhow…

Emilie wakes up with Gabriel’s soul within her (hence the bluish gray eyes in the comic).

Adrien is traumatized for life.

This took me hours to write… I knew there was a reason why I didn’t want to do it. I hope I didn’t forget anything and my brain made sense of it all

Well there you have it, peeps. The Pinocchio AU. It’s as messed up as my sleep schedule. Good night. 

[cheri-translates]

[CN] Season 2 Summary (Volume 4: Ch 10 - 13)

🍒 Warning: Detailed spoilers from S2 🍒

Along with the update on 3 June 2021, the CN server released a “Plot Review” which contains bullet-point summaries of S2 :>

Volume 3 Summary: here

You receive a name list of people involved in the Evol assassinations, and realise that quite a number of them were participants in the Hunter Game. After considering the significance of this list, you decide to discuss the matter with Victor

With Victor’s prompting, you do a cost-benefit analysis and find that disclosing the document brings greater benefits than disadvantages. However, doing this will make LFG a target of the true mastermind behind the assassination incidents

“After all, he isn’t the only one with a trump card.”

As expected, disclosing the list results in heated debate from various segments of society

While leaving Souvenir one day, the brake of Victor’s car fails to work because someone tampered with it

The two of you have no choice but to speed around the city. Despite it being an incredibly dangerous situation, he remains composed, successfully resolving the issue before him. It’s the first time you realise how skilled Victor is in driving 

After the incident, you track down the person who tampered with Victor’s car, and find that he has been assassinated

Likely sensing your feelings, Victor invites you to the park after work. When you head to the park as arranged, you see his figure from afar as he waits for you

You deliberately send him a text, telling him that you’re still at work. He believes it at first, but reacts soon after. He scans his surroundings, then meets your eyes amongst the crowd

“Childish.”

While taking a stroll in the park, the both of you stop before a tree. A long time ago, Victor had coursed through time and entered the future in order to prove that the future could be changed. Back then, you had engraved your wish. This time, the same words are your source of determination. Next to you, Victor smiles and changes “May everyone be safe and healthy��� to “Everyone will be safe and healthy”

When he takes you to the riverside, Victor finally tells you the true reason why he asked you to meet him. He’s currently acquiring businesses related to the “Small Syringes”. He needs this information to be publicly disclosed in order to lure the forces that are lying low to the surface voluntarily. Even though you’re worried, you choose to trust his decision. You volunteer to release this news as it can drum up a large volume of public opinion

Victor looks at you, his expression proud and gentle

"Here’s to a pleasant collaboration.”

After the news is made public, the reputation of LFG suffers a drastic decline as expected

On the surface, your interactions with LFG have lessened. At the entrance of LFG, Victor walks forward amid the remarks and hostility by passers-by. You want to defend him, but reason tells you to stay where you are, and not act impulsively

As your eyes gradually redden, you receive a message from him-

“The weather is pretty nice today.”

Victor’s plan progresses steadily. What you’ve done has also allowed the reputation of Black Swan to rise

Even though the two of you are walking in different directions, you are certain that you’re standing in the turbulent undercurrents together

The director of the hospital whom you once interviewed has discovered a reason for the pathological changes in Evolvers, and has invited you over to talk about it. Unfortunately, a group of Evolver gangsters has suddenly taken the hospital hostage

The STF rushes to the scene quickly. When you hear Gavin’s voice, your heart feels much more at ease

The main plotter, Yang Ping, has held normal civilians as hostages, and requests for a series of provisions to be made for Evolvers, so that Evolvers can have more “benefits”

Struck with an idea, you remain on the scene to assist Gavin at any moment. When he sees you, Gavin understands your intentions despite being worried

The STF receives an order from the higher ups to disregard the lives of the hostages, and go straight to quashing the situation. Gavin openly defies orders, choosing to safeguard the lives of everyone as a priority, and to negotiate with the gangsters

“I’ll take responsibility for all the consequences.”

During the confrontation with Yang Ping, Gavin uncovers Yang Ping’s true motive: to force the STF into harming someone in order to shatter the balance between civilians and Evolvers

Catching Gavin’s hint, you pretend that the negotiation went sour and that Yang Ping had injured you, turning the tides in your favour. After all, you’re simply an Evolver used as a chip in the negotiation. Yang Ping’s claim of “doing things with Evolvers in mind” no longer holds any weight

Because of this, the STF agents are given an opportunity to suppress the gangsters

Everything appears to be wrapped up smoothly, but the director is suddenly shot by a sniper. Yang Ping is also shot

Late at night, you spot Gavin standing below your house, braving the rain

Gavin seems to be experiencing complex emotions. To you, perhaps he was unable to fire every bullet for justice

Sensing that Gavin isn’t simply referring to the incident at the hospital, you tell him that you believe in his judgement

“I’ll find the truth behind this incident.”

Gavin also gives you an incredibly resolute response

A few days later, Gavin seems to have made up his mind. He tells you that he’s investigating an incident called “New Year’s Day Change”, and he needs your help

You agree immediately

Gavin has already contacted a key informant: an old ex-policeman. Because the forces behind the incident are incredibly complicated, he needs you to cooperate with him in putting on an act

“Miss Nox isn’t showing due respect by dampening one’s spirits the moment she enters.”

He needs those people who have been paying close attention to this incident to have a mistaken impression that he’s still searching for the old ex-policeman. In order to protect you, he needs you to leave his side

Gavin will be the target of scrutiny, while the eyes on you will slacken. You’ll use this opportunity to become the mode of communication between Gavin and his informants, safely assisting Gavin in advancing in his investigations

As the final step of this plan, Gavin pushes you off the top of a building

He appears determined in breaking off relations, while you're hesitant and powerless. But the both of you are clear that the plan is going as smoothly as imagined

“I’m the greatest danger.”

You know that Gavin is walking down his path resolutely. And you will naturally want to become the person standing beside him, walking down the same path

Through a report done by a member of Black Swan, you discover that the pathological changes in Evolvers are related to their Evol. You also realise that Helios seems to be investigating this matter

At the same time, Savin tells you that something has happened to Kiro, and he’s in the hospital. You immediately rush over, but you’re told that Kiro doesn’t want to see anybody

Across the door, you tell Kiro that you wish to see him. After a strange silence, he speaks slowly

“Thank you. You can go back.”

Behind the door, only Kiro knows the reason why he’s behaving strangely - due to a sonic bomb, he has lost his hearing

Kiro avoids you for many days, until he organises an exclusive “live concert” for you one evening. The next day, he’s finally willing to meet you. When you see that Kiro doesn't seem to have changed much, you relax a little, despite having many doubts

But in the evening, you receive a statement from him which says he’s “retiring from public life permanently”, and he vanishes

Knowing full well just how much he loves the stage, you decide to keep the matter hidden, attempting to look for him

Unexpectedly, you bump into Helios at the Black Swan building

“The person you’re looking for isn’t here.”

His cold attitude makes you understand that Kiro has turned himself into Helios. He’s hiding from you, and also himself

To have a better understanding of his actions, you look through the clues pertaining to him. When you investigate the Hunter Game again, a stone tablet with the symbol “8″ appears multiple times

In order to carry out a concrete investigation, you return to the forest where you had once participated in the Hunter Game, and search for that stone tablet

The moment you touch it, thorns and thistles grow on the stone tablet, cutting your hand and absorbing your blood. Before you can react, the ground underneath your feet opens. Just as you’re about to fall into the abyss, Helios saves you

Despite being faced with his icy attitude, you attempt to form a partnership with him to explore this place

In the dark, rays of light fluctuate into a message that neither of you can comprehend. 19, an artificial intelligence which remains here, enables you to understand that this place is a historical ruins left behind by the previous civilisation - “Lighthouse”

19 tells the both of you that their world was once as flourishing as it is right now, but it was destroyed. They left the “Lighthouse” behind in hopes of assisting the both of you in preventing the fated destruction

You and Helios also hear about the songs from that generation. Cultures and languages may not be the same, but music can cross barriers

When one song ends, Helios sings that melody in his own way, letting it echo in this time and space

"All of you still exist.”

After leaving the Lighthouse, you tell him that you’re going to continue with the investigations, and use your own method to tell Helios that you’re willing to face him, and would like to carrying out this operation with him. You hope that this time, he can walk towards you voluntarily

After returning, you receive a call from an unknown number

“It’s me.”

In order to investigate the Hunter Game further, you once again participate in the game as a punter

You do your best to search for the stone tablet in this game, but accidentally get targeted by two players. Just as you plan to fight with them, Shaw, whom you haven’t seen in several days, appears from behind you

The both of you cooperate, settling the score with the other two

“Tch. Not even one of you can fight.”

You tell him about the “Lighthouse”. Shaw, who has been researching on the historical ruins, guesses that the venue of the Hunter Game could be deliberately designed to be near the ruins. By using large amounts of Evol energy fluctuations, it could unseal the ruins

While the discussion has signs of a positive outcome, the two of you are still embroiled in the game

Shaw’s conspicuous ranking and high-key thunder and lightning have attracted numerous opponents to him. But with your cooperation, the enemies fail in succession

The metal chain around his neck notifies him that he has advanced into the next round, but he loses consciousness in your arms due to a fever

The youth who usually hangs around Joker appears before you. You use psychological tactics to goad him into sending Shaw to the hospital. On the other hand, you’re taken away by him for breaking the rules of the game repeatedly

When Shaw regains consciousness, he’s unable to contact you. He returns to the antique store, only to see that it has been swallowed up by an abnormal black flame

“Get lost!”

In spite of the firefighters’ obstructions, Shaw makes repeated trips into the shop, “rescuing” the calligraphy and paintings

By the time the fire is extinguished, the antique shop is already half scorched, as though it’s a warning

Based on the youth’s memories, you discover that Joker has once visited the former site of the BS research centre. In order to find out why, you hurry over

You inadvertently find that there’s someone in the archive room. Just as you're feeling tense, your phone suddenly rings - at 2.03pm, an unknown number calls you

The sound exposes you. Taking out a gun, you attempt to warn the person in the building

“I surrender.”

That person turns out to be Lucien, and he's holding a floppy disk in his hand

Lucien explains what he’s doing here, and even demonstrates how you can use the data in the floppy disk

A series of numbers flash on the screen before it turns dark

Having considered that this process of reading data is highly confidential, Lucien notes how they might have been watched earlier, and that it’s better to leave

However, you suddenly feel dizzy. In the next second, you find yourself in the corridor. The door to the archive room is shut tight, and you can’t see Lucien anyway

Even though you’ve clearly set your phone to silent mode, it rings again. The screen shows that it’s 2.03pm. It’s a missed call from an unknown number

Returning to the archive room, it’s as though Lucien didn’t meet you earlier

You surmise that you’re experiencing this for the second time, and Lucien believes you without hesitation, speculating that you might have been in a time loop

Just as he says, whenever a certain amount of time passes, everything returns to 2.03pm

Unexpectedly, but as a matter of course, Lucien believes you every single time. He analyses the situation with you, helping you escape from the time loop

After a few more time loops, Lucien figures out a way to escape

“This time, let me accompany you in jumping out of this looping time.”

Time requires an object of reference. You're at the centre of the time loop circle, and the compass drawing the circle is your phone

Because this phone is special, it doesn’t vanish when you leave it with Lucien. At the same time, in order to measure time, your phone reappears in your hand

Since one object cannot exist in two places at the same time, this results in a contradiction that causes time and space to collapse

The next day, you and Lucien meet along the corridor, and agree to go on a stroll outside

Even though many things are unclear, the radiance of spring before you makes everything seem as though they are going in a beautiful direction. You can’t help but mention the promise you once made with Lucien to fly kites

“Spring may not necessarily arrive at a fixed time.”

In a teasing manner, Lucien says that he isn’t late. You also think that perhaps many things can start afresh

All of a sudden, you feel a severe pain in your chest-

“Now, spring has just begun.”

The words Lucien just said have yet to disperse

At this moment, he’s holding your collapsed form. The only colour in his monochrome world is gradually fading

Volume 5 (Ch 14 - 17): here

More S2 content: here

A detailed translation of Gavin’s part is available here!

[mittensmorgul]

Since the finale aired, I’ve been yammering on about how it would’ve only worked as a finale to s2, and now that I’m actually rewatching s2, I stand by that even more staunchly. The finale doesn’t work in a post-s2 supernatural universe.

This is the version of Dean we saw in the finale-- the one whose only mission in life was to Save Sammy, to help him get his revenge and allow him to go out and live a Normal Safe Life pretending that hunting and monsters don’t exist. The one who just wanted some pie, to drive his car, and had no real connections beyond Sam in the world outside of Bobby. Even Dean’s characterization in the finale is this far younger Dean who’d never allowed himself to crack open and truly understand love. It would take me years to plow through everything I’ve ever written about him as a character and his long struggle to emotional maturity we saw evolve over the next 13 years beyond this episode, but the tl;dr will always be “this s2 Dean is the same as the Dean in the finale.”

The goal of s2 was saving SAM from his “destiny,” too. In this era of the show, Dean didn’t have a “destiny” the same way Sam did. The ONLY thing that mattered was freeing Sam from “becoming evil,” and being manipulated into terrible things. What Dean wanted, what he was “destined” for by the narrative was irrelevant, because all of his choices and emotional burdens were tied only to saving Sam. To freeing Sam so he could safely return to his “normal life.” Go back to college, have a family and the white picket fence life.

This was before Dean truly began fighting for HIMSELF. Which only really and truly began after he sells his soul to resurrect Sam. That’s when Dean truly begins fighting for himself. Sure, he’s angry with John during s2 for trading his own life for Dean’s, for putting the burden of “if you can’t save Sam, you’ll have to kill him” on his shoulders with his dying breath, but Dean is still fighting against John’s authority and the complicated tangle of feelings of his own childhood and not actually coming to terms with his own wants and needs and wishes out beyond that yet. He’s still unwittingly confronting the “destiny” John had set up for him, and hasn’t moved beyond that yet. It’s only trading his soul for Sam’s that finally brings Dean into the cosmic narrative that will fuel his introspection and personal growth for the rest of the series.

And out beyond that point, his entire character arc explodes into orbit.

Dean’s entire character arc in s3 is confronting this very basic fact: he doesn’t deserve to have been sacrificed just to save Sam. He doesn’t deserve that burden, and he does deserve to live. This is the realization he comes to before eventually being dragged to Hell and then rescued by an angel, who literally tells him, “you don’t think you deserve to be saved” in the aftermath of that. From that point on, we have TWELVE SEASONS of Dean struggling with what he “deserves” versus what is “fate” and “destiny” and eventually confronting what he WANTS if he truly could choose his own destiny.

Plus, out beyond that point, he has Cas. And nothing changes Dean, pushes him to grow and understand himself, and accept himself-- all of himself, from the good to the horrific-- than the pure and unflinching acceptance of Castiel. Cas never looked at him and said “you are evil,” or “you are worthless.” (well, they’ve both said some pretty awful stuff to each other over the years, but there was either brainwashing or other deeper issues pushing those things on them, and they have ALWAYS eventually come back to one another, and the awful stuff was dealt with). Point is, Dean and Cas both began running these parallel arcs of duty versus desire, and for Dean, the duty was always framed around “taking care of Sam” versus pursuing any sort of ambition or goals for himself. They would fight for this for most of the rest of the series, until eventually the goal for ALL of them would be about discovering what they would want for themselves.

The show explicitly dealt with this, repeatedly, over later seasons, asking all of the characters the big questions: is this what you would choose for yourself? What WOULD you choose for yourself if you could?

And then they made the narrative of the final season, of the final Big Bad, the fact that they had NEVER had real freedom, and that their entire lives (and the entire history of not only this universe but every parallel universe) had been Chuck’s Puppet Theater, and true free will had been a lie all this time. Pushing all of the characters to confront their own choices and understand what about who they were as people was separate from what Chuck pushed them into choosing and doing all these years. The main thing that Dean (and also Cas, and to the extent she was included in the narrative this was Eileen’s issue as well) were being pushed to come to terms with what really was real, and were their feelings and choices their own or imposed on them for the furtherance of Chuck’s story.

At the end of the road, finally free and out from under Chuck’s control, they knew what was real. For Sam and Eileen, they had chosen each other. Cas had chosen Dean, but Dean hadn’t yet had a chance to reply, but anyone with two eyes and a brain knows what he would’ve said in return. It’s what Cas stopped him from saying even back in Purgatory in 15.09. And yet, for some reason Sam and Dean forgot all of that, as if none of it had ever even really happened at all, and we went right back to who they were right after they finally defeated the YED, before we even knew Azazel had a name, let alone the fact that the ultimate boogeyman of their entire lives to that point had been nothing more than a fanatic pawn in a much larger destiny for both of them.

The end of s2 was the last time Dean sacrificing himself so Sam could have a normal life, where Dean really felt there was nothing more for himself than fulfilling his father’s orders to save Sammy, even feels remotely plausible. It’s the last time we can feel like Dean might find peace and contentment in a Heaven where John is nearby to be proud of him, and where Dean would actually feel like that validation was even relevant to his own life.

And that finally brings me back to s2, where that was actually addressed through John’s self-sacrifice to save Dean, to serve Dean up to the narrative and provide a stage for this self-transformative journey INTO being a version of John himself. Only... Dean DOESN’T choose that. He fights to save Sam at all costs, even when it seems clear that the right answer would probably be to KILL Sam instead. When not only the ghost of John Winchester plaguing Dean’s mind would make him doubt his own drive to save his brother, but the John Winchester Insert Character of s2-- Gordon Walker-- basically put Dean’s own doubts out there in plain words in 2.10:

GORDON: I'm surprised at you, Dean. Getting all emotional. I'd heard you were more of a professional than this. Look, let's say you were cruising around in that car of yours and, uh, you had little Hitler riding shotgun, right? Back when he was just some goofy, crappy artist. But you knew what he was going to turn into someday. You'd take him out, no questions, am I right?

DEAN: That's not Sam.

GORDON: Yes it is. You just can't see it yet. Dean, it's his destiny. Look, I'm sympathetic. He's your brother, you love the guy. This has got to hurt like hell for you. But here's the thing. It would wreck him. But your dad? If it really came right down to it, he would have had the stones to do the right thing here. But you're telling me you're not the man he is?

This, the episode where Dean finally confesses John’s final orders to Sam, where Dean has decided that saving Sam is all that matters, even when circumstance and everyone else is practically screaming at him that this could all be over if only he gave in-- be it his own self-sacrifice OR killing Sam. Six of one, half a dozen of the other, the universe doesn’t care (and neither does Chuck... especially at this point... and the proof of that is Sam’s s15 nightmares where one of Chuck’s alternate universe endings for Sam and Dean was Sam actually going Darkside on demon blood and killing Dean... any iteration of the old drama, Chuck has explored all potential endings-- oh, except the ending where TFW gets to just be happy and live... that’s the one ending they never get and the only one they deserved in the end).

also from 2.10... loads of chat about “destiny” and one of Dean’s first “we should just lay all this shit down and take a vacation” moments when he suggests they go to Amsterdam and enjoy some of the not-coffee-coffee-shops, which Sam counters by doubling down on the fact that Dean has a destiny in all this as much as Sam does:

SAM: Well, come on, dude, you're a hunter. I mean, it's what you were meant to do.

DEAN: Ah, I wasn't meant to do anything, I don't believe in that destiny crap.

SAM: You mean you don't believe in my destiny.

DEAN: Yeah, whatever.

SAM: Look, Dean, I've tried running before. I mean, I ran all the way to California and look what happened. You can't run from this. And you can't protect me.

DEAN: I can try.

And that’s it, right there. This is the “neither of you can try for a normal life outside of the other while the other is still alive.” This is Sam pinning a destiny to Dean that’s just as inescapable within Chuck’s narrative as Sam’s demon blood and psychic powers. 

This is the core essence of Chuck’s story about them. The sibling dynamic that Chuck failed to free himself from, and that Sam and Dean failed to free themselves from after Chuck’s demise in 15.19.

Destiny. One must die so the other can live.

And considering the next 13 seasons of the show and the long and emotionally grueling character arcs Sam and Dean proceed through where they truly confront the core of who they are as people-- as individuals outside of their duty and destiny-- the finale ceases to make any sense outside of Chuck’s narrative for them. If 15.20 really happened exactly as we saw it on screen, then Chuck still won.

And they had to loop Sam and Dean all the way back to where they were emotionally at the end of s2 in order to make it seem plausible. Which, for those of us who actually care about what they endured after s2, makes the finale entirely implausible as a whole.

[medusinestories]

Today is Two For One because these two eps pretty much follow onto each other in terms of storylines and themes etc.

Black Sails V and VI (s1 eps 05-06)

- A big plot point in these two episodes is Billy mistrusting and investigating Flint. It starts with Flint approaching Billy and claiming he wants an “honest” conversation with him (note that he’s had time to think about what he’ll say to Billy, coming back to my previous comment about how Flint does better at persuasion when he has time to script things). Flint explains that you can’t ever be entirely truthful to a crew because if you explain any risk of failure they’ll be demoralised. He also talks very briefly about Miranda, portraying her as a “nice Puritan woman” who likes books. When Billy asks if this is really true, Flint just gives him That Wink. Billy spends the episode wavering between trying to support both Flint and protect the crew, clearly conflicted. This feeling intensifies when Logan asks whether Flint will give up trying to get the guns even if the situation becomes extremely dangerous, and Billy can see that Flint is risking the lives of men to get at the guns and knows what he did on the Maria Aleyne. The last straw is the discovery of Miranda’s letter and the realisation that she didn’t prevent Guthrie from betraying them like she was supposed to. Gates dismisses Billy’s doubts and refuses to get into it, mostly in a stategic move, knowing that Flint is the only one who can get them through this battle, and that they all need to obey him in this moment.

- Speaking of battles, this is the first prolonged sea battle we get to see, and the first time that Flint is given a really worthy opponent in the character of Bryson. Bryson is extremely clever and uses both sailing and defense/siege/booby-trap strategies that make taking the Andromache practically impossible to take. Flint shows a lot of resourcefulness in response: he seems to know exactly how much his ship can take and how to handle it (in spite of DeGroot’s warnings, which end up being unfounded for once) and hammers out a good (if dangerous) strategy to board the ship. However, this isn’t enough to outwit Bryson, who’s extremely well prepared for a siege if he gets boarded and has the Scarborough already heading their way. In fact if the slaves in the hold hadn’t helped the pirates, I doubt Flint would have had to leave without the guns. Even when he’s dying, Bryson still attempts to blow his ship up. In fact, his explosive booby trap has a real impact on what happens in the end of episode 6.

- It’s interesting to watch Dufresne in his first battle. He’s clearly meant for us to identify with, as the “nerd” on the ship who’s never seen battle. Following him allows us to see the faces of a lot of crew members, to feel the tension and fear before boarding the other ship, the desperation of the battle, and... okay I’m not sure just anyone would go feral like Dufresne does and rip someone’s throat out. This is definitely a turning point in Dufresne’s character.

- Something new in Billy’s character that he is shown lying to Dufresne to reassure him before the battle, using exactly the technique Flint mentioned earlier. First he tried telling Dufresne that guns only go off half the time - not at all reassuring. Then he tells Dufresne that sailors on their crew never die in their first battle. Only after the battle, does Dufresne realise that what Billy told him isn’t true - and tells Billy that he appreciates the lie. Does this change Billy’s point of view on lying? Is lying all right, for a good cause?

- In the meantime, Eleanor is saddled with Silver. I absolutely love this plot line and wish these two had worked together some more, because they’re hilarious. Silver knows that Eleanor’s angry with him and finally gets to find out that it’s because he involved Max in his scheme, but he flatly refuses taking any responsibility for that, saying it was Max’s choice (which it was). Later, when the angry pirates are turning into a mob, Silver is clearly getting anxious and Eleanor pretending not to be, he says: "if you're pretending to remain unconcerned for my peace of mind, please don't", a line mirrored in S2, where Flint openly admits to Silver that he’s “appearing unconcerned” as a strategy (and thus establishing the Flint/Eleanor parallel). Finally, Silver confronts Eleanor about the danger of not appeasing the mob by letting Vane operate out of Nassau again; she asks him to convince her why she should - and he actually does. It takes two hours, but he actually gets through to her. In this conversation, he utters the classic line “guilt is natural; it also goes away, if you let it”. Clearly he’s had to make some nasty choices for his survival, and likely he has quite a personal experience of mobs, too.

- Richard Guthrie continues to be one of the biggest assholes of the show. In these two episodes he 1) betrayed Mr Scott by telling Bryson to kidnap him and sell him as a slave, 2) announcing that he’s liquidating his holdings in Nassau without warning Eleanor and saddling her with the angry mob, 3) shamelessly revealing to Eleanor how he betrayed her and why, disregarding the fact that she’s made Nassau what it is over the last few years, 4) is worming his way into Mr Underhill’s good books and got himself a cosy and very safe place to live while all hell breaks loose in Nassau.

- Speaking of Mr Scott, he ends up amongst the slaves in Bryson’s ship and appears somewhat disdainful towards them, mostly because he doesn’t want to knows the realities of what would happen to them if they joined the pirates (some would still be sold as slaves). Eme believes that they should still seize their chance for freedom, but Mr Scott won’t help the pirates get these weapons, which “are dangerous to someone I love". This of course is understood as being Eleanor, but it also easily be interpreted as the Maroon Queen/Madi in light of S3. In fact, it makes much more sense that he is resisting the Urca plan to protect them/his community than because he’s worried that Eleanor will be killed. Eme counters that he’ll never see this person again, which still isn’t quite enough to break his resolve. Finally, once Mr Scott has changed his mind and helped free the slaves and ended up helping Flint, he has a conversation with him. Flint decides not to tell the crew of Mr Scott's betrayal, because he’d rather prove Mr Scott wrong re: making Nassau into more than it currently is.

- Anne’s inability to bear the violence done to Max comes to a head in these episodes. First she dismisses Mrs Mapleton who’s not being all too gentle while “tending” to Max, and the brief talk between Max and Anne seems to reinforce Anne’s resolve to stop Hamund (looked him up) (but did they really need to bond while Anne pushes a phallic instrument into Max’s cervix after lubing it up? there’s clear sexual innuendo in the way it’s filmed and it’s pretty inappropriate). It’s only when Rackham sees Anne defending the entrance to Max’s tent and can’t believe that Anne would put herself in danger over “a fucking whore”, that it finally dawns on him that Anne is horrified with this situation (something he could have guessed considering the circumstances in which he met Anne). Once Max is freed and thanks Anne, Anne tells her that she didn’t do it for Max. Which is probably not completely true, but again what we know of Anne’s past also means that she didn’t want to see any woman treated that way.

- The theme of men siding together and not listening to women comes up several times in these two episodes. Guthrie says that he persuaded Mr Scott to betray Eleanor because “we talked like men and he saw reason”. The “like men” suggests that men support each other’s decisions, especially to resist a woman’s folly. The Consortium refuses to listen to Eleanor unless a respected captain, in this case Hornigold, also backs it. But of course Hornigold won’t back it unless Eleanor allows Vane to become a captain again; he considers how Vane’s men are treating the “thieving whore” to be of absolutely no relevance. Rackham opposes Anne’s attempt at stopping Hamund from visiting Max to protect her from Hamund, who he fears would harm Anne. And finally, Pastor Lambrick doesn’t believe Miranda when she tells him that doesn’t need to fear Flint’s anger.

- An answer to this is unlikely collaboration between women people in ep 6, aka, Eleanor  and Anne who deeply despises her. Both of them share a sense of responsibility for what happened to Max, and believe that they’ll only feel better when Max is free and Hamund is dead. John “guilt will go away if you let it” Silver is roped into the plot, when Eleanor, reminds him that he’s a “loose end” to Flint, who will likely want to get rid of him, and promises to tell Flint not to kill Silver after he’s served his purpose if Silver helps them. Which he does, begrudgingly, and at the risk of getting murdered by Hamund at any moment. This puts Eleanor and Anne’s plan to kill Vane’s remaining crew into place, and ruffles Rackham’s feathers: he’s forced to help kill even the men who aren’t disgusting rapists like Hamund. He asks "do I not deserve  say", to which Anne answers "you had your say, now I have mine". GOOD FOR HER.

- When the dust settles, we get a really interesting moment where Silver accurately analyses Eleanor, pointing out that she can’t stand to be wrong, feel weak or let anyone get away with fucking with her - which makes her in his opinion possibly more dangerous than Flint. Does this mean that Silver still thinks he had a genuine chance of winning Flint over and surviving him even without Eleanor’s help? (he’d be right, considering how his relationship with Flint evolves later on the show; perhaps the difference between Flint and Eleanor is that because she’s a woman, she can’t *afford* to show any weakness at all)

- Lambrick has his big moment in episode 6 when he rides chivalrously to Miranda in the middle of the night, hoping to save her from Flint’s retribution. Instead of really reassuring him, Miranda chooses to talk about Thomas instead. This is where we hear the most about Thomas in S1, and the way Miranda speaks about him is clearly loving and admiring. She compares Thomas to Lambrick, saying that he was also a sort of shepherd (the comparison stops here imo). Then she imagines how Thomas would have played devil’s advocate, left all of Lambrick’s beliefs in tatters, all for his own good, to free him from the yoke of shame. I can’t help but think, from her teasing tone and the way she smiles, that she believes that Thomas would have somehow debauched Lambrick. The fact that she decides to have sex with him moments later certainly supports that idea. The ghost of Thomas looms on this scene, and it could be that she briefly imagines being with him, which could explain her smile and the way she holds him afterwards. But Miranda had another reason for sleeping with him: it was a very good way to make him stop asking questions about Flint.

- And in the meantime, Flint knows that Billy has been asking questions about Miranda and overheard him talking angrily with Gates about the letter. It just so happens that Billy has to go cut off a piece of the Andromache’s sail that’s slowing the Walrus down, which puts him in a secluded and dangerous spot. The conversation between Flint and Billy is very brief: Flint asks about the letter Billy found, and Billy answers “I think you know what was in it”. Actually, no, Flint has NO CLUE what was in it. Whatever else passes between them is a mystery, and the next thing we know is Flint announcing that Billy went overboard. We see him hovering behind Gates, watching him intently, until Gates decides that they can’t turn back for Billy. The camera pans a lot on Flint’s face, and his expression is quite unreadable. At first I wasn’t convinced that he’d pushed Billy, but on this watch I’m not so sure, because of the way Flint’s face is filmed. There’s also a sort of clue where we see Flint throw Billy’s sword into the sea during the burial at sea ritual. Of course as Captain he was meant to do that... but the gesture is suggestive of him throwing Billy himself. It’s certainly true that Billy had become a thorn in his side for two reasons: 1) he was one of the rare crew members who could influence Gates and get him on his side; 2) he was much too interested in who Mrs Barlow was and what her motivations were - if Billy had alerted the crew of what she’d done, Miranda may have been in danger (a mob quickly turns against a witch who works against the crew).

- To finish on Flint and Miranda: season 1 has painted them as a unit, an inseparable pair, working as a team (in supernatural ways, sometimes). And to some extent they are. Even at this time where they are truly at odds, where Miranda has tried to take control of Flint’s fate behind his back, they are still protecting each other. Flint doesn’t reveal anything about Miranda and possibly attempts to kill Billy to protect her, while Miranda seduces Pastor Lambrick as a way to distract him from his questions about Flint. She can’t convince him to believe her, but she herself is clearly convinced that Flint is a good, decent person (as she tells the Boston judge in her letter) and she trusts that he knows that she only tried to stop him get the Urca because she wanted to save him - something he will come to accept by the end of S2 (unfortunately for them).

[rebellionbeach]

The Usami brothers and whole family as a whole are really interesting characters.  Due mostly by the fact of how different Haruhiko and Akihiko are yet similar in many ways as well.  Let’s start with rabbit boy.

Not only is this man extremely sexy but he’s also one of the most popular novelists in Japan believe it or not (not in real life guys)  Akihiko is the presumably biological son of Natsuko and Fuyuhiko and younger brother of Haruhiko Usami.  Growing up, he had always yearned for the attention of his parents, wanting to impress them and make them happy.  Haruhiko had actually been introduced to the Usami household at the age of 12 so Akihiko was 10 at the time and significant development seemed to grow from this change.  As shown from volume 21, everyone had been cheering Akihiko on as the legitimate heir of the Usami family meaning to take over the family business however he had never gotten this support from his parents before.  As a young child he had believed that if he just tried harder and became good at everything, then his parents would finally recognize him.  However, this wasn’t the case unfortunately as shown in the same volume once a young Akihiko came home from school gaining full marks on a test, eager to show his father when he caught him telling Haruhiko that he truly intended to make him the heir of the family business.  This impact was further felt once his mother, who had also witnessed this, declared that she should have never bore Fuyuhiko’s child which in the eyes of a young child must have been completely shattering.  An important seed was planted however and I believe that it was at this moment that Akihiko had started to evolve into the person he is today.  He poured all his emotion, pain, loss, suffering into his notebooks, his stories, proclaiming it to be his entire world.  Overtime we see that Akihiko grows to be very adept at the talent, being one of the top-selling authors from debut which occurred while still in high school and becoming a full-fledged novelist.  Doing this, he completely rejected his family and any connections he might have had to take over the business.  

Looking as Akihiko today it is very clear the type of individual he is, independent and self-serving, he’s his own boss and does only the things he wants to do.  From the first episode of season 2 we see this as there is a key event that takes place between the two Usami brothers in which a confrontation between two escalates into a full-out argument over Akihiko coming back to, as I assume, take over the lead of the Usami company and or serve there.  I will note later on Haruhiko’s tone and content of his language but it’s Akihiko’s response which truly stuck out to me as he stated that he had no inclination of going back to that house and if that Haruhiko truly didn’t like being there then why doesn’t he just leave as well.

This point may seem entirely irrelevant but I actually believe it highlights an essential part of Akihiko’s character that not only serves as his strength but also a blind spot in that of his independence.  Akihiko is the type of person who is able to do the things he’d like to do and encourages the people he cares about, basically Misaki, to do the same such as in episode 2 of season 3 where he is actually the one who encourages Misaki to enter into Marukawa after Misaki dismisses those thoughts as just a fantasy.  This is a thing for his relationship with Misaki as he allows the man a different perspective and in a way allows him, or at least encourages him, to be more selfish.  However this can also be seen as a flaw of his character as it can be interpreted that the only reason he has this lax and independent personality in the first place is because of his more well-off family and the fact that he’d had connections from the start.  In all honestly though, this part of Usagi-san’s personality is one of the main reasons why I actually enjoy his character, along with his thoughtful nature, as I believe that it’s a pretty unique and well-suited trait.

Let’s get into Harry Potter or the eldest brother of the Usami residence, Haruhiko.  Haruhiko isn’t Akihiko’s direct brother as stated before but rather a product of an affair that Fuyuhiko had with his mother.  For the first 12 years of his life, Haruhiko had actually been raised by his single-mother whom he loved very much.  During these times he had been seen to be much more happy despite living in poorer circumstances.  This is a large aspect that is pretty big onto why he is the way he is today.  After his mother tragically passing on, Fuyuhiko took him into to live in the Usami residence.  Now this in itself is absolutely devastating, living with a father-figure that had never truly been there for you with a new mother-in-law that despises your every existence because you’re the proof of the infidelities of her marriage and a new younger brother who seemed lifeless from the rest of this.  Top it all off with the devastation from losing the only person you truly loved and was there for you and damn I’m surprised that Haruhiko didn’t full out lose it.  

Now going back to the scene originally discussed with Akihiko’s backstory, let us switch perspective onto Haruhiko during this situation.  Your new dad just stated that the person he had truly loved in his lifetime was your dead mother and that he intended to make you, a 12 year old child, the heir of their family company that you had just learned about.  Not only this but everyone around you is your enemy as shown through all the people cheering on Akihiko to become the true heir and saying that Haruhiko stole his position.  There is basically no one there to support you, similar to Akihiko, and unlike Akihiko he actually was not used to this new circumstance making the situation even worse. 

I’d like to discuss the scene stated before during episode 1 of season 2.  Here, Haruhiko is visibly angry as Akihiko’s lack of care for his role in the Usami residence.  This is something we’ve never actually gotten to see ever since with Haruhiko barely showing any emotion at all.  However, if you take in the full context of his upbringing and circumstance to that point, you can see a fuller picture of what the man has gone through to become the stoic chosen one we know today.  Akihiko, after being hoisted by Isaka to finally start publishing his works, his entire being, finally achieved success independent from the Usami residence, marking himself finally as an individual allowing him to finally see that he only needs himself.  I think this is what caused Akihiko to cut most connection from his family, despite the occasional visits, and totally puts himself away from the idea of succeeding and become the heir of his family’s company.  This leaves Haruhiko with the burden of shouldering the entire Usami company’s future, something he never truly wanted to today with architecture being his main priority.  What he see’s in Akihiko is this lazy, selfish person who only thinks of himself, abandoning all his familial duties to a brother whom he barely batted an eye to during childhood.  This is what he hates in Akihiko, but also envies.  A very interesting point that season 2 makes with the connection between the Usami brothers is the inherent jealously Haruhiko feels toward Akihiko, with him trying to steal things from him during their upbringing together according to Akihiko.  Even Misaki finally has this revelation during episode 8 I believe when he was distracting him from Kaoruko.  I think his jealously mainly stems from the fact that Akihiko got his independence while Haruhiko is still confined to the Usami gates.  With all of Akihiko’s absent-minded behavior and to quote Haruhiko, “having the eyes of a dead fish”, Akihiko in the end still achieved that sense of independence that Haruhiko could only dream about having.  Add onto the fact that everyone around you hates that you got this position, lobbying for your younger half-brother who barely gives in the effort to succeed you, then baby that’s a recipe for childhood resentment if I’ve ever seen one.  

So what does this all mean, well nothing since this is an over-analysis on a yaoi manga but in a reality I think it comes to show the clear dynamic Haruhiko and Akihiko have on one another.  In recent chapters it is shown that Haruhiko is more and more aspiring in his own pursuits in architecture, even accepting his position as lead of the Usami household and accepting the fact that he’ll never get Misaki, wanting to stay as his ally instead (which is a lot more than I can say for a CERTAIN manga author).

I love Haruhiko AND Akihiko, they both are really great characters and I’d think it would be nice if in the future they could perhaps reconcile their relationship and kind of start to get along.  The Usami household fucked up a lot of kids but they are still going strong and who knows, maybe Haruhiko might get a lover in the future (AKA Todo)

Thank you and now I implore you to go listen to Nelson’s After the Rain album, 10/10 made me cry.

[9worldstales]

MCU: Loki and Midgardian clothes

So, I’ve seen some fans wondering how could Loki fix Mobius’ tie since Asgardians clearly do not wear ties…

…and it made me wonder ‘is this a mistake or Loki was actually familiar with Midgardians clothes?’

So let’s start with the sources at our disposition to answer this question.

SOURCES MENTIONED:

Movies: “Thor” (2011), “The Avengers” (2012), “Thor – Ragnark” (2017)

Series: “Loki” [More exactly a scene from: “Marvel Studios' Loki | Official Trailer | Disney+”] (2021)

Comics: None mentioned

Direct-to-video animated film: None mentioned

Motion comics: None mentioned

Books: “The Art of Thor” (2011), “The art of The Avengers” (2012), “The Art of Thor: Ragnarok” (2017), “Marvel Studios: All your questions answered” (2018)

Novels: “Thor: Ragnarok - The Junior novel” by Jim McCann (2017)

Webs: None mentioned

Others: “Thor” old movie script

Okay, now we can start.

So, as weird as it might seem at first, the second answer, which is that Loki is familiar with Midgardian modern attires, might be the intended one, right from “Thor”.

Let’s go back to that movie.

Thor is clearly unfamiliar with present day Midgard as a whole, and so are his friends.

We’ve various moments in which Thor shows he’s unaware of present day Midgardians customs, like when he can’t realize he’s in doctors’ care and thinks they’re attacking him (in a deleted bit, when they tell him they’re trying to help him, he demands they bring him healing stones, showing he has no idea how Earth’s healing system work), or when he breaks a glass asking another believing he’s showing appreciation for the drink, or when he enters in a pet shop, demands a horse and when they tell him they’ve only dogs, cats, birds, demands one of them big enough to ride.

It doesn’t mean he never went to Midgard, in the movie there’s the implication he had been on Midgard before...

Thor: We're going to Jotunheim. Fandral: What? This isn't like a journey to Earth where you summon a little lightning and thunder, and the mortals worship you as a god. This is Jotunheim.

...and there was a cut scene in which he recognized being on Midgard and even calling it ‘Earth’.

Thor: Blue sky... one sun... This is Earth, isn't it?

And there’s another cut scene that says that yes, Sif and the Warriors Three had been on Earth… but a thousand years ago.

Volstagg: Is it just me, or does Earth look a little different to you? Sif: It has been a thousand years... Volstagg: Things change so fast here. You leave for a millennium, and it's like the whole neighborhood's gone.

Now, Loki was a babe in 965 AD and “Thor” takes place in 2011. Sif likely doesn’t mean exactly 1000 years but, what’s more, we don’t know how exactly Asgardians age in the MCU.

Does their childhood last as much as ours and then their aging process slow down so as to allow them to live 5000 years? Or their aging process is proportionately all slowed down and they remains babes for years?

I tend to think their childhood is fast and then they have a slower aging process once they reach a certain age, but anyway this is irrelevant. Even if Loki visited Midgard 1000 years before and was familiar with its customs back then, well, things, as Volstagg points out, are changed a lot.

So… where do we can get an idea if Loki is familiar with Midgard or not?

When Loki goes to see Thor, he shows up dressed up in 21st century Midgardian attire.

In “The Art of Thor” is said:

Said Craig Kyle, “Loki wants to look good, he’s a man of style… Loki actually has three looks, Thor has one.” In addition to the three costumes he wears in the otherworldy realm of Asgard, Loki also makes a brief appearance in a suit and tie. Said Tom Hiddleston, “When he turns up on Earth in the movie, [he’s] very GQ.”

(For who, like me, is not familiar with the term GQ, it is used to describe a guy who is dressed nicely, very sleek, or very sexy to the ladies, The term comes from the men's fashion magazine named GQ (=Gentlemen's Quarterly).)

They don’t really explains why Loki decided to dress up like that, but the fact he chose to is meaningful.

Loki was going to see Thor, and he only let Thor see him.

He appears in the room Thor was, presumably after waiting for a while inside it but invisible since he complains about how he thought Coulson would never leave. When Coulson is back, Loki has magically disappeared again.

People doesn’t see Loki, not even when he tries to lift up Mjolnir.

Long story short, Loki’s attire is not to disguise himself as a human among humans and walk among them unnoticed, as he just doesn’t let them see him at all, and if he were, his very fashionable outfit would likely draw more gazes than anything else (compare it with Coulson’s plain suit), especially when he tries to lift Mjolnir while all around it there are scientists dresses in scientist garbs and guards dressed in guard uniforms.

So we can see Loki didn’t need to dress as a human to see Thor, he could have very well gone there in his normal Asgardians clothes, like he does when he goes to visit Laufey...

...though he could have forsaken the armour when visiting Thor, and just show up in his normal attire.

Instead Loki picked up a stylish Midgardian outfit to go meet his brother. Be it an illusion (more likely) or real clothes, Loki knew how a fashionable 21st century Midgardian would dress and decided to dress as such even though there was no need for it. This implies a familiarity with Midgard, or at least with its dressing style, which I genuinely doubt could have been a topic of study for Asgardians... even though Odin too was familiar with Midgardians attires as, when he bans Thor to Earth, he changes his clothes into modern, ordinary, definitely not fashionable Midgardian ones.

Loki knows the secret paths between words, it can be he travelled to Midgard and, once there, grew to like the elegant style we have.

But yes, this doesn’t necessarily mean he could learn how to fix a tie, as his clothes might be an illusion.

The final bit of “Thor” is a bit of a confusing thing as it shows Loki (dressed in Asgardian clothes) invisible to other people’s eyes controlling Selvig...

...which is confirmed by “Marvel Studios: All your questions answered” which describes that scene as:

Loki controls Selvig as he examines the Tesseract.

If Loki had controlled Selvig for an extensive period he might have learnt to tie ties as Selvig wears one.

However, although this scene was created and directed by Joss Whedon, this scene is kind of forgotten when “The Avengers” rolls around.

In it Selvig is free from Loki’s control until Loki uses the sceptre with the mind stone to turn him into his servant.

Now… “The Avengers”.

The story starts by night, with Loki arriving in the S.H.I.E.L.D. research center in which Selvig is studying the Tesseract.

Natasha Romanov, Bruce Banner, Steve Roger and Tony Stark are all warned during night. It’s possible it’s the same night, maybe it’s the night after.

It’s full day when Steve Roger travels with Coulson. The following scene shows Loki remembering his talk with the Other and then we’ve Steve reaching the Helicarrier and meeting up with Natasha and Bruce.

Then Loki shows up at Stuttgart Museum again dressed up in 21st Century attire with his sceptre disguised as a cane. This time Loki is sort of disguising himself, as he’s actually planning to draw attention on himself but, at first, in a subtle manner so it makes sense he dressed up as a Midgardian to move among Midgardians so as not to alert common people but end up being tracked by SHIELD because they can see him on monitors and recognize him… something they wouldn’t be able to do had he been invisible.

Loki drops his disguise only later, after he has sent a holographic image of Dr. Heinrich Schafer’s eye to Barton. He confront with Steve and Tony and vanish his armour… remaining in Asgardian clothes. He’s short after taken by Thor, who then argues with Steve and Tony until Thor decides to get along with them and Loki is carried on the Helicarrier all in the same night.

Natasha takes care to inform us Loki killed 80 people in 2 days. This should mean Loki is on Midgard by two days.

Why all this is relevant?

Again Loki dressed up as a stylish Midgardian,

...his clothes similar to the ones he had in “Thor” yet vaguely different (in “Thor” the coat is green, in “The Avengers” black and the scarf motive is slightly different) and even knew that, in order to disguise the sceptre, he can’t mask it as, let’s say, a pitchfork but a cane. It’s true, since he’s been on Earth by 2 days, this time he could have gotten that knowledge by Barton or Selvig.

“The art of The Avengers” again doesn’t tell us much apart that:

“Joss and Kevin both wanted a different look for Loki in The Avengers, in part for the fans and in part to serve the story,” Visual Development Supervisor Charlie Wen said.” For Loki, his costumes evolved from the super-clean look of the Asgard from Thor to a much grittier and more lived-in look to show the changes he’s gone through since then.” “For Thor and Loki, much of our inspiration came from Jack Kirby’s original character designs,” Wen said. “Loki represent mischief. He is a cultured traveller.”

But, if we put clothes aside, Loki is also aware of how:

Loki: The humans slaughter each other in droves, while you idly threat. I mean to rule them. And why should I not?

It’s something Thor didn’t seem to know/realize.

This seems to imply Loki knows about Earth’s history or, at least, of its present situation. Yes, he might have had a crash course in history of Earth courtesy by Clint or Selvig, but he might have also learnt it by himself in trips on Earth since Odin didn’t seem interested in Earth beyond protecting it from some attacks from creatures from other realms (he helps against the Frost Giants, however he doesn’t seem aware of the Skrulls and Krees walking on its surface nor he cares to check what humans do with the Tesseract doing nothing when Red Skull uses it to produce weapons) so he might not have bothered having his son learning about Midgard’s history and situation.

The last time we see Loki dressed as a human is in “Thor: Ragnarok”.

In it his clothes are much more simple than usual as he only wears a black suit, no scarf, no coat.

In “The Art of Thor: Ragnarok” there’s actually not one but 2 arts for more elaborate suits with coat but they were clearly discharged as Loki never wears them in the movie.

“Thor: Ragnarok The Junior novel” which is based on an earlier script says:

They were dressed in regular Earth street wear – shirt and slacks – and Thor carried an umbrella. His hair was swept back into a ponytail. Loki’s magic was projecting an illusion onto the duo.

...which seems to imply the scriptwriter originally didn’t even think dressing Loki stylish… and anyway mostly focused on Thor... so it’s possible Loki’s attire in the movie is a compromise between the scriptwriter, who though to dress Loki in shirt and slacks, and "Thor: Ragnarok” Visual Development Supervisor Andy Park who wanted to put him in an elegant and stylish suit as the other Visual Development Supervisors had done.

Still, the scriptwriter too thinks Loki is aware of how, if Thor wants to keep an object in his hands, it has to look like something ordinary and how an umbrella can fit the bill. As it didn’t rain during Loki’s short permanence on Earth, the fact he knows umbrellas exist and is acceptable to carry them around seems to imply Loki has an idea of how Earth works.

So all this to say… yes, Loki might be more familiar with Earth than it looked like and he might have learnt how to make a tie or, at least, how to fix it since this is more what he seems to do in that scene in “Marvel Studios' Loki | Official Trailer | Disney+”

We can only wait and see if “Loki” will give us more explanations about this scene or it will just toss it in and not bother to explain it at all.

Meanwhile I’ll have fun thinking before things went wrong Loki used to come on Earth and look up on fashion magazines and love the idea of how good he would look in such clothes that he began to dress up according to Midgard fashion style each time he got to set a feet on it.

[itsclydebitches]

Hello! I'm liking yours metas about rwby and you're mention of Blake and Yang relationship give me thoughts.I think, my main problem with them is writers idea to not confirm them as a couple because it actually hurting Blake and Yang as a characters. They kind of stuck in this status quo after V6 and since then didn't have any significant development both as a couple and as standalone

Hi there! 

Agree completely. The lack of confirmation for their relationship isn’t just a problem because of queer baiting fears and such (though that’s obviously a biggie), but also because their characters are basically on hold until they move past this forehead touching stage. Granted, I think all of Team RWBY have lacked compelling arcs the last two volumes, but Yang and Blake are particularly lacking: 

Instead of allowing Yang to be a part of the Summer conversation with Qrow, she’s left taking selfies with Blake 

Neither are at the party when Tyrian attacks, instead they’re out dancing in a scene we don’t see. (Tbf, Jaune, Weiss, and Oscar aren’t there either, but I’m establishing a pattern here.) 

We do get a moment between them in the truck, but as I and others have pointed out, the response to Adam’s death was both incredibly mild and coming episodes too late. It was a scene, not an arc. 

Which reminds me: fixing Blake’s weapon wasn’t important either. 

We establish that they’re now keeping a secret from the group and have betrayed Ironwood, but neither action results in anything. The others don’t care that they made the decision to talk to Robyn and Ironwood’s descent is presented as too extreme/far gone to be a true result of that choice. 

Yang takes a stance against Ruby... and then that’s immediately dropped too. Despite Ren agreeing with her, Yang reverts to her Volume 1-7 perspective that her little sister can do no wrong. 

She is shown struggling over a disagreement with Blake... that does not exist.

I do think it’s good that they had Yang confronting Salem and recalling Summer, but it’s a little late by this point and, as others have said, a rather limited response when Yang has lost a great deal recently too. It’s fine, but could be better. 

Yang also gets to talk to Ruby about Summer, a conversation that doesn’t go anywhere this volume and was dropped for the foreseeable future because everything else is going on. 

Yang is definitely the one coming out on top though. At least she has the seed of an arc trying to take root. Blake, despite living in the city notorious for the slavery of her people has: done cute ship things with Yang, hung out in a mansion drinking tea, told Ruby she believes in her So Much, and begged her to help during a fight. Fans aren’t wrong to complain about Blake’s treatment lately. Not only does she not have an arc, but she has regressed in terms of fighting abilities and emotional complexity. (What happened to the girl who challenged her teammates’ world views?) 

We get a nice backtrack on Yang’s disability arc by reducing her arm to just something that’s “extra”/helping make Penny human/being a part of the whole “disability is a metaphor for evilness” arc 

Then Yang’s character really takes a hit when she regresses further to her “Impulsively revs semblance and jumps into a fight to save someone” behavior, to say nothing of the story nuking her power level to justify that fall. 

Blake tries to save her though! Compared to Ruby and Weiss in that moment, Blake is written extraordinarily well. 

This is the final, culminating moment for them this volume though: the story trying to convince us that half the queer ship is dead.

Then Blake has a tiny moment where she struggles over who to help and instead of her semblance evolving like I assumed she just... helps Weiss? Okay. 

And I think that’s it! As said, Yang is in a better place than Blake atm, but neither has what I would term a compelling arc. The closest we’ve got is their relationship and, as said, that’s been stalled since Volume 6. They’re not the only ones — I still can’t believe Weiss went to Atlas and didn’t get a real arc either. She makes her father’s arrest into a joke, he dies without her knowing, she sticks her weapon in Whitley’s face and immediately forgives her mother. Winter gets more consistent, active development  — but Blake and Yang have been struggling for a while now. The show needs to make them canon and then either give them some relationship conflict to explore (like renora) or, better yet, give them individual arcs because they’re their own people even while they’re a couple.

[tanadrin]

I suppose because politics is what means I have no future of any kind left, so it's hard to be silly about it. And I seem to have landed myself in a sector of social media filled with people who are very smug about how smart and nihilistic they are, and I hate all of you with the hatred that only a miserable, powerless person can feel.

I don’t buy it. Unless you are quite literally scheduled to be executed at dawn, “no future of any kind left” because of politics is catastrophizing. People in very dire circumstances the world over often manage to build some kind of life for themselves; it may not be the life they want, and the suffering they endure because of the circumstances they are limited by should not be dismissed, but to say that someone in such adverse conditions has no future is to infantalize them and deny them the agency they do have to shape their life to some extent.

And this is an insight I’ve found important when dealing with depression in myself: even if one’s catastrophizing is not irrational (say, you’re a queer person stuck in an extremely homophobic environment, at minimum for the next 5-10 years), that does not mean it is useful. To put it another way: circumstance might justifiably make you angry and sad and frustrated. That may be rational. Deciding, in the face of that anger and sadness and frustration, to surrender to it is not rational.

So--assuming that you are not a political dissident due to be executed, nor suffering from a terminal illness which somehow for political reasons cannot be cured (if either of these things are true, you have my sincere condolences)--I have to say, this ask reeks of someone who’s depressed. If you are depressed, you will always be able to come up with reasons why happiness is unattainable for you, due to circumstances entirely out of your control. This is not a crazy thing to think, because if you are depressed and not treating that depression, most if not all the things you try to do will not solve your unhappiness because they are usually orthogonal to what is making you unhappy. Your very ability to accurately imagine future happy states and what might bring them about is suppressed by depression; for instance, you might, if you are depressed and you know it, rationally understand that exercise often helps with your depression, but be unable to motivate yourself to exercise because the intuitive link between if I do X I will feel better is broken by an internal forecasting system that refuses to spit out predictions other than “nothing I do will help with anything.”

A depressed state is not a psychotic break--it doesn’t cause you to lose touch with reality--but I think depressed people would sometimes benefit from treating it like one, because it does subvert your ability to accurately model the world, and therefore you can’t trust your own ability to reason or intuit about certain topics. I have both experienced this from the inside, and seen it from the outside: friends whose depression causes them to believe they are unlovable, and thus that nobody loves them, even when told (and shown) repeatedly that they are very much loved, and very important to the people around them.

In fact, you remind me of this post: depressed and anxious people who notice politics is depressing and anxiety-inducing, and that depressing and anxiety-inducing problems confront the world and society, and therefore conclude that their depression and anxiety are a rational and reasonable response to the world. But that doesn’t follow at all! A lot of responses to a depressing and anxiety-inducing environment are more useful that shutting down and withdrawing, or letting yourself be paralyzed; and even if there are negative external factors in the world affecting your life, if you have nothing in your life that is a sufficient source of joy to offset these things at least somewhat, then you have problems sufficiently severe that I don’t think your depression or anxiety can be laid at the feet of the world at large alone; more likely, you’re dealing with shitty personal circumstances, and these are far more likely to be tractable to your individual capacities than, like, all of climate change. And if you do have some sources of joy in your life, you can cultivate those further.

To put it another way: humans are very bad at reasoning about things on large scales or over large timelines. One reason we’re slow to solve problems like climate change is that we tend to be pretty blasé about remote and impersonal problems, which is actually often useful as well--because it means we’re capable of adjusting our hedonic barometer to create joy even in catastrophic circumstances. If you are constantly worried about big issues like climate change or the Trump presidency to the point where you can never do that, then the conclusion you should draw isn’t that you’re a uniquely rational human being with a uniquely accurate worldview, it’s that your brain is broken and you should not trust your intuitition.

Emotional states are not rational models of the world. They are tools our brain uses to motivate certain kinds of action. They probably have their origin in our social evolution, but this means they are extremely untrustworthy when it comes to complex, large-scale, philosophical, or impersonal issues, because these are not scenarios our brains evolved to handle before the advent of high-population, highly-stratified societies.

Now, I realize it’s hard to convince someone they are depressed and/or should seek treatment by rational argument (lord knows I’ve tried in the past!), because after all, if we were being perfectly rational, we would not feel depressed. We wouldn’t feel anything; again, emotions are contingent tools, not highly rationalized responses to the world! So I won’t belabor this point any longer. Instead, now I’m going to get annoyed with you.

Because here’s the other thing depressed people do--and I have done myself. They see people who are not depressed, whose hedonic barometers are functioning normally, and capable of experiencing joy even in arguably (or inarguably!) shitty circumstances, and they get mad at them. How dare you be capable of laughing at a joke, or sharing a meme, or having a nice day, when everything is so bad!

This is a common response, not only from depression, but also I think from grief, or fear, or trauma, or lots of other things. But it’s bullshit. I’m sorry, but you don’t get to demand that everyone feel your suffering as acutely as they feel their own. You don’t get to demand that just because you’re a pessimistic ball of frustration and anger that everyone else be, too. You get to--and ought to--demand that people treat you with empathy and respect, but that doesn’t mean they don’t get to make jokes about topics you find depressing as hell. Yes, even topics that personally affect you, and may not personally affect them (though, of course, a lot of times people assume the person making the joke isn’t personally affected by the topic, when in reality they are and the joke is a way of relieving stress and coping with frustration).

That calvin and hobbes meme I reblogged is an extremely generic political compass meme; the only relevance it has to the world today, I suppose, is acknowledging that, like, politics is a thing that exists. If you’re upset by that--how dare people laugh at politics, the source of all my problems--you’re being a dick.

And this leads my to my final point, which is this: while we are all of us owed compassion, we also owe others compassion. And people caught up in their own anxiety and depression and anger often don’t see the way their emotional states impose costs on the people around them. They often treat the people around them badly--worse, at any rate, than they normally would--and react defensively if this is pointed out to them.

I’ve done this. I have friends who have done this. I get it. It doesn’t make someone a horrible person! It doesn’t meant they deserve to feel the way they do. But it does create the second half of a twofold moral obligation. You see, I believe that the, call it “utilitarian selfishness” view, is essentially correct: if all humans are of similar moral worth (they are), and you can only help one person (often true), and that person is yourself, it is no less moral to help yourself than it is to help someone else. This is usually framed as a grant of permission: “you are allowed to be selfish sometimes.” But it’s also an obligation: “you should not be a dick--even to yourself.” You have a positive obligation to care about your own suffering! And you have a positive obligation to try to reduce the costs your suffering--your bad mood, your depression, your anxiety--imposes on the people around you.

Because I’m not a smug nihilist. I actually believe, with embarrassing intensity, in a large number of abstract principles. And while I believe circumstance or injustice can conspire to make people feel miserable and powerless, and I have the utmost sympathy for you feeling that way, no one is so omnipotent as to be able to truly excise our power to do something with our life that is rewarding to us, no matter how modest. Your subjective feeling of misery is not license to be a dick to people, or to misrepresent them or their motivations. And if reading my tumblr (or anyone else’s) makes you miserable, you have a positive moral obligation to stop, because you’re being a dick to yourself, which is no more justifiable than being a dick to me. And being a dick to me because you don’t like my Tumblr, because you’re miserable and I’m not, is pants-on-head stupid.

I, too, have been so convinced of my misery and powerlessness, and so utterly convinced of my inability to make improvements in my life, that I have yielded utterly to the feeling of myself as a despised, helpless, wretched thing. You can spend years in that state. A lifetime, even. I suppose it relieves you from the burden of having to try, which is a tiny shred of comfort when the climb up the hill seems so steep. But I have found that in the long run it brings no other relief; there’s no regression to the mean, just an endless prolongation of misery. It required some courage, and not a little determination, to try to climb out of that pit. Sometimes you struggle. Sometimes you fall back in. Sometimes it’s easier to believe there’s nothing beyond that place of unhappiness. But there is, and you can get there, and the choice of whether or not to reach it lies only with you.

[plasticnightmaredoll]

How about that WandaVision finale?

I have been MCU trash pretty much since 2008's "Iron Man," and it's currently a great time to be MCU trash. "WandaVision" is one of the few series that not only kept me coming back week after week, but actually amounted to much more than just a gimmicky twist (I'm looking at you, "Behind Her Eyes." Seriously, that show is soap opera drivel with a shocking double twist as its only captivating trait...and the double twist wasn't handled very well anyway)

In the end "WandaVision" was about overcoming grief and accepting reality.

Spoilers ahead!

The "WandaVision" finale was quite good overall, but there were a few disappointments. I'll address the latter first:

We never found out who was in witness protection. At the beginning of the series, Jimmy Woo stated there was someone trapped in West View who was in the witness protection program, and it seemed like it would be a key subplot but ultimately, it didn't lead anywhere. Perhaps it wasn't meant to be seen as anything more than some...random bit of information, but it is odd that they put such a specific detail into the story in the first place if it wasn't going to lead anywhere. Then again, supposedly we may get more questions answered in "Doctor Strange in the Multiverse of Madness," so this subplot may not have been wasted after all.

There were so many theories floating around hinting at who the true villain was behind the scenes, including Mephisto, Nightmare, Grim Reaper, and Chthon. All seemed like valid enemy choices, especially Mephisto as many clues appeared to lead to him, and Grim Reaper due to his helmet making an appearance in the opening credits of episode two. However, there wasn't a big baddie hiding in the shadows, and Agatha Harkness and Tyler Hayward were the only villains. Then again, that doesn't mean there isn't an ultimate villain lurking out there who could appear in "Doctor Strange in the Multiverse of Madness," but it kind of sucks we have to wait until 2022 to find out.

I wanted White Vision to go to Wanda and get together with her since Hex Vision restored his memories. But White Vision just flew off and wasn't seen again for the rest of the episode. I guess he needed time to process all the memories that had just flooded his high advanced robot mind, which is understandable because it was a lot to take in. I would have liked to see him make another appearance in the episode, though, even if it was at the very end with Wanda in her secluded cabin. I just want them to be happy together, ok?

Evan Peters wasn't actually Quicksilver/Peter Maximoff from the "X-Men" movies but someone named Ralph Bohner. This must be the Ralph Agatha referred to numerous times throughout the series but was never shown (not until the later episodes, that is). It does seem a bit weird -- off-putting, really -- that Evan wasn't Quicksilver from an alternate timeline. It would have made sense, and would have been a nice sampling of the "Multiverse of Madness," but in the end, he was just...Ralph. I honestly, don't get it, though: Why choose Evan Peters for such a random role when he was Quicksilver in the "X-Men" movies, and we are getting into the Multiverse part of the MCU storyline? Also, what happened to him in the end? After Monica freed him from Agatha's magic, we never saw him again. So....? What gives?

Although this is more of a personal gripe than anything, I was seriously hoping Doctor Strange would appear in the finale, even if it was in a post-credits scene. It would have been an excellent lead in for "Multiverse of Madness," and I just really love Benedict Cumberbatch's portrayal of the character. But again, this isn't really a flaw with the "WandaVision" series and is more of a pet peeve.

Also another peeve: What happened to Señor Scratchy?

I can't even say that there was a lot to be disappointed in with the finale, though. The lack of an "ultimate big bad meanie" isn't so bad. The series was more focused on Wanda running from her grief, having it smother her, and then earning her acceptance. Agatha and Hayward were sufficient as "true villains" of the series.

The only big issues are Evan Peters being a random dude named Ralph, and the weird subplot of a missing witness that ended up leading nowhere (for now?)

There was plenty of good in the "WandaVision" finale!

Wanda finally donning a scarlet outfit and crow reminiscent of what she wears in the comics was totally bad ass. It looked fantastic, and it shows she's now understanding herself and her powers much more. She isn't naïve about any of it, and is ready to learn how to control and enhance her abilities. Initially, she didn't want to be seen as a witch but ultimately, it is her destiny, and she chose to accept it without fear.

The second and final post-credits scene with Wanda making tea in her secret cabin in the mountains was interesting to say the least. Physical(?) Wanda was doing daily task while her astral projection -- which featured her in her costume -- was studying the book of dark spells (or "Book of the Damned," as Agatha called it). This is a funny nod to 2016's "Doctor Strange" considering Doctor Strange's physical form would sleep while his astral form would study magic. The difference, though, is Wanda is reading from the Book of the Damned, which can't be a good thing. Also, it almost indicates she has two personalities: Wanda Maximoff and Scarlet Witch, and I like that idea. She may have to wrestle with herself internally in the near future.

I was so glad that White Vision was able to regain his memories of his past -- and true? -- self thanks to Hex Vision. I hope White Vision will go to Wanda and reunite with her, but I'm not sure when that will happen. Paul Bettany isn't listed in the cast for "Doctor Strange in the Multiverse of Madness" so...I'm really confused. White Vision still exists and is somewhere but...where? When? How? The cast list for "Multiverse of Madness" is very short, though, and Paul's upcoming films and series list ends in 2020 so...maybe it's meant to be a secret? The movie isn't due out until next year so it COULD be the case. Otherwise, it seems like a huge oversight on the MCU's part to just forget about White Vision. It would be a pleasant surprise if he shows up in "Multiverse of Madness" to help Wanda from doing bad things, losing control, or whatever?

Scarlet Witch is supposedly stronger than the Sorcerer Supreme, which is kind of awesome but kind of troubling because Doctor Strange may not have the best time in "Multiverse of Madness" is he is to confront her. This is why I hold on to the theory that White Vision may appear in the movie to aid Doctor Strange by calming Wanda down. Either way, knowing she is so powerful and at the same time, a very emotional person, hints at an epic fight in the near future.

I really liked how Wanda tricked Agatha into stealing her chaos magic. I was wondering why Wanda was missing with some of her chaos magic spheres, but assumed she was just growing tired and weak and was losing focus. Then it's revealed that she wasn't missing her shots -- she was placing large runes on the Hex's walls to prevent Agatha from using her magic. Then this allowed Wanda to take back her powers and steal some of Agatha's, which, in turn, made her accept her role as the Scarlet Witch. Agatha is punished by being trapped as nosy neighbor Agnes in West View, but I don't think it's the last we'll see of her.

I'm glad Wanda was able to finally accept Vision's death as that was what had caused all this mess in the first place. Despite what she did, she was a sympathetic "villain," if you can even consider her one. She was overwhelmed by grief and found a way to cope...she just happened to drag a small town into her world. Oops.

Monica's powers continuing to evolve was amazing, like how she managed to stop the bullets Hayward attempted to fire at Billy and Tommy. I really like Monica's character and the actress, Teyonah Parris, is very talented, so I'm excited to see more of her in Phase Four.

While it was expected, it was ultimately the right decision to let the people of West View go free. Even if they still resent Wanda for trapping them previously, they are given the chance to return to their normal lives without any harm done to them (well, maybe some mental and emotional trauma but, hey, who doesn't deal with these things in life, right?)

Some things I want to make note of:

Paul Bettany is a fucking troll and I love it! He had hinted at a surprise cameo later in the "WandaVision" series, which would involve working with an actor he's always wanted to work with. This caused a lot of speculation as to who it would be, although, Benedict Cumberbatch was the top choice since Doctor Strange and Vision never had screen time together, and Benedict is a great actor (then again, so is Paul, although, he's underrated, I think). Then there were rumors of Al Pacino being the surprise cameo since he was a major influence on Paul, and there were theories Al would show up as a secret villain like Nightmare. Turns out the secret surprise cameo was Paul Bettany himself since he played both Hex Vision and White Vision, and the two did fight for a bit before having a philosophical chat which led to White Vision regaining his memories. So, yeah, Paul Bettany is Troll of the Year. I guess I was initially disappointed that the big reveal wasn't really a big reveal, but I quickly realized how hilarious it was that Paul played us all so well. He's probably laughing his ass off right now at everyone's "WTFFF?" reactions.

I know Elizabeth Olsen was criticized for her poor Russian accent, but I think she's a very good actress and love her portrayal of Wanda. I mean, accents can be a bitch to master, I get it, and sometimes, I think if the performance is still impressive, we can learn to be unbothered if the accent is off.

I noticed that Chiwetel Ejiofor is returning as Karl Mordo in "Doctor Strange in the Multiverse of Madness," so perhaps he will be the main villain or a secondary villain? He has to be a villain since he is hunting down sorcerers to take their powers. Maybe he wants to take Wanda's powers, too? I mean, she's a sorcerer of sorts, so...maybe that is going to be a plot point? Although, Mordo is probably way out of his depth against her but we shall see.

I kind of still want Mephisto or Nightmare to appear in Phase Four since they have been hyped so much due to clues in "WandaVision." I don't think Wanda will be the big baddie for Phase Four, I just don't see it. Also, I don't see Mordo as being the big baddie, either. Both are very single-minded in their goals, and yeah, Thanos was, too, but he dragged the entire universe into his insane and devastating goal. I don't think Wanda or Mordo have such grand and deadly intentions. Wanda just wants her kids back and Mordo wants to get rid of sorcerers as...revenge against the Ancient One's "betrayal?" I don't know...but I don't think he wants to take over the universe. I never read the comics, though, so I could be wrong.

In the second post-credits scene of the "WandaVision" finale," we see Wanda's astral self studying dark magic from the Book of the Damned, and Billy and Tommy suddenly call out to her. I am guessing she could have been studying spells to see if there was anything that could bring them back since, unlike Vision, they were a creation unique to her from the start. Vision was initially a new, more powerful, more durable body for Ultron, then he was given Jarvis' AI and became, uh, the Vision, so, he never "belonged" to her. Getting her kids back, however, may prove to be a problem for the universe because it could lead to multiverse madness. I'm so funny, I know.

As disappointing as it was for Evan Peters to presumably be some dude named Ralph Bohner and not the "X-Men" movieverse Quicksilver/Peter Maximoff, maybe it makes sense when you really think about it. Marvel owns the rights to the X-Men now because Disney owns Marvel and Disney purchased the rights through their merger with 21st Century Fox. Marvel plans to reboot the X-Men with "The Mutants" movie sometime soon, and that means characters will be recast. They kind of have to because the current cast's movie series has hit a dead end with "Apocalypse" and "Dark Phoenix" proving to be underwhelming. I do wonder how Marvel will breathe fresh life into the X-Men in the movieverse because I feel like there is X-Men fatigue right now? Or maybe it's just me. I've grown disappointed with the franchise and am sort of annoyed at a reboot because it may be too soon. But, hey, hopefully I'm proven wrong!

Marvel also has rights to the Fantastic Four, which means we may actually finally get a good Fantastic Four movie! Three attempts have been made so far (yes, three), and they all failed to impress with the last attempt being an embarrassment. I mean, it was a disaster as nearly everyone hated how boring and bland and choppy it was, and that is reflected in its pitiful earnings. On a budge of $120-155 million, the 2015 "Fantastic Four" movie only grossed $167.9 million globally. OOOOOOOOFFFFFFFFFF.

Phew, that was a huge post, but got all my thoughts out. Considering how shitty things have been since the abomination of 2020 was born, and with little hope for things to improve anytime soon (I have my own problems as well, which aren't going away anytime soon, either, hahaha T__T), it's refreshing to have some stuff to be happy about. Some people hate the MCU, some people have lost interest, and some people may just be indifferent, but I'm definitely and MCU fan and it makes me feel excited and giddy, two things I don't experience often anymore :\

Feel free to share your thoughts in the comments or in a reblog, but no hate and no "cancel culture" talk. I want to keep this post positive.

[sebastianshaw]

Hey there @vvithteeth! So, this isn’t EXACTLY what you asked for the readlist to focus on, but I think it’s worth checking out all the same for a general sense of Emma’s history leading up to her current character!

 EVIL 80s EMMA She’s not good reference for who Emma is NOW, but a good look at what she used to be, and what she’s overcome. I think looking at Emma when she was at her worst, helps one appreciate her at her best. If you see what she had to rise above in herself, you understand the self that she’s fighting back, you have a better appreciation for the kinds of things she’s tempted towards---and the kinds of things she no longer does.  X-Men (1st series) #129-131 is her introduction, as she tries to recruit Kitty Pryde to her school before Xavier does. One of the most chilling moments, for me personally, is when she threatens to destroy Storm’s mind so that she will be “human only in physical form” And then Jean drops a house on her, which is why she’s not involved in the Dark Phoenix saga, as she was still recovering.  Emma continues trying to get Kitty and other kids into her clutches in  Uncanny X-Men (1st series) #180 and  New Mutants (1st series) #15-17, but in New Mutants (1st series) #38-40 she finally manages it by exploiting their current fucked-up state and having her student Empath use his powers to manipulate Magneto.  But when the kids decide to return to Xavier’s school, Emma allows them to do so without a fight, and just tells them that they’ll always have a place with her if they need it. Which seems nice, but then her thought balloons reveal that this is just so the kids won’t believe it when Magneto tells them she’s evil. Firestar #1-4: Whoa mama, Emma is at max abusive here. See, she desires to eliminate Selene, and to this end she trains a young mutant she names Firestar. She does so by manipulating the girl, isolating her, convincing her that she NEEDS Emma to help her control her powers or else she’s dangerous to others, and even KILLS HER PET HORSE. Emma is someone who says “I love children. Teaching is my life.” and she MEANS IT, she has a genuine call to teach and her love for her students is her driving force, but here we see how she USED to treat her students. Then put her against who she is now, it’s a huge contrast. Honestly, I don’t know why SOME WRITERS want to erase her growth by pretending she was Actually Good All Along but yeah, here’s Bad Emma. This is who she fights. This is what she has risen above.  EMMA’S BACKSTORY ISSUES Emma’s history is. . . kind of multiple choice. She tells one version in Generation X #24, but this doesn’t fit at all with the Emma Frost miniseries that came out from 2003 -2004, which also doesn’t exactly fit with “X-Men Origins: Emma Frost” single-issue backstory. I personally would read the “X-Men Origins” one and at least the beginning of the miniseries, specifically the parts that deal with her home life. The reason is that both of these show how unhealthy Emma’s home was growing up, and how that made her who she is. When I saw I think Emma is “wired” to be a villain, I don’t mean I think she was born like that, but as in, I think her environment trained her to become like that. It’s kind of like how a lot of personality disorders aren’t something a person is born with, but come from being in a shitty environment where certain behaviors will help you survive better, and then even once that situation is over, you can’t get rid of those behaviors because it’s how your brain is wired now. That’s how I read Emma---she came out of this toxic, duplicitous environment of manipulation and abuse where she and her siblings were set against each other, and that’s now her default for how she interacts with the world, even though she was originally just a sweet little nerd who only wanted to be a teacher. The “Origins” one features a generic Shitty Abuser Shaw and isn’t as good as the more drawn-out miniseries, as it focuses more on physical abuse (like her father suddenly slapping her) to get a point across that her family is toxic, rather than the more drawn-out miniseries, which I think works better for explaining Emma’s specific brand of. . .Emma-ness. But the bit where her mother tells her that her father is hardest on her because he likes her most of all, is really important I think, since that reflects her relationship later with the Hellions, which is also shown in this. Because Emma is cruel to the Hellions, even though she loves them, and in fact because she loved them. Her love for them and her agony over their deaths is what drives her to join the X-Men in the first place.  As for which origin story is true. . .I think the miniseries one is probably MOST true, as it’s the only one that Emma herself isn’t telling as a story. But as the friend who helped me assemble this list puts it, “ Think of any origin story of Emma's as "a sort of fairy tale, a parable," where it's the theme that matters, not the precise events or timeline “ 90s EMMA Emma spent most of the 90s teaching Generation X. I don’t remember a lot of stuff for specifically what I’m talking about with her, but here are a couple issues that strike me as significant. Uncanny X-Men (1st series) #311-314: In  Uncanny X-Men (1st series) #281-284, the Hellions were killed and Emma Frost was left in a coma, her body taken care of by the X-Men. This is when she wakes up, takes over Iceman’s body, and goes on a rampage thinking she’s the prisoner of the X-Men. When she finds out what happened to her Hellions, she collapses in despair and turns herself over to the X-Men. This is her turning point. This is when we found out Emma Frost had a soul. That she LOVED the Hellions. That they were not just tools. And there’s this one line in the yellow narrative boxes that really sticks out: “As the Hellfire Club’s White Queen, she spent the better part of her life traversing from one mind to another, violating the very essence of anyone she so chose. Losing herself in the memories of others. Altering, at times, the opinions of those who opposed her. This time is different. This time it is about survival. This time. . .it’s for the children.” The words are echoed when she agrees to join Krakoa's Quiet Council, after Charles and Erik tell her their plan and convince her it might just work. "One more time, then. For the children." Emma’s true love, in my opinion, isn’t Scott. Nor is it Namor. It’s teaching.  Emma becomes the teacher to Generation X, as mentioned, and in Generation X (1st series) #18-19, during the Onslaught crisis, she’s so terrified of losing them like she did the Hellions, that she snapped, took the kids to a safehouse in Canada, and put them under her telepathic control for their own safety. This is an Emma who has learned that abusing her students isn’t the right way, but still doesn’t respect their autonomy or consent even as she’s desperately trying to protect them, and has to learn from Monet (who is. . . .actually not Monet) that this isn’t the right way to do it either. Emma did not grow up with adult models who showed her how to love and care for a child, she has to figure it out herself, and it’s a rocky journey at times, even though she has the best of intentions. I think this is a good issue to show an Emma who is in the process of evolving. She’s getting better, but she still hasn’t got it “right” yet.  CURRENT-ERA EMMA Emma really becomes the Emma we know with Grant Morrison’s New X-Men in the early 2000s. This is where she starts affecting a British accent, calling everyone darling, and the delightfully witty Queen of Mean while also still a devoted teacher with trauma over losing her students. She always was witty and a little mean, but Morrison takes these traits up to 11 and gives Emma the foundation of what a lot of writers would build upon. It’s also when she begins her telepathic affair/seduction of Scott, which is a more than slightly problematic dynamic, as I’ve discussed. Also, this is when she got her now-famous diamond form.  We get a lot of lovely Emma nastiness in this series. New X-Men #128-139 all have lots of great moments for her where she’s just WICKED yet still on the side of the angels, and New X-Men Annual 2001 starts us off.  However, character-wise, I think what really comes out here is Emma going from blaming her past actions on substances (she tells Scott in the New X-Men Annual 2001 that she just probably out of her mind on drink and drugs all those times she was doing bad things) to being forced to face her past and herself for the first time when confronted by Jean & the Phoenix in New X-Men #139. It’s the first time we get a look at what Emma’s family and home life was like, as well as the first time she’s established as having a brother, but more than that is the emotion that gets brought in. This is also when Morrison decided to retcon the Hellfire Club as a strip joint (which I hate and also shows up in Emma’s “Origins” story) but that’s neither here nor there. The point is, Jean makes Emma face all her flaws and pain and nasty, most vulnerable parts of herself.  Emma is left mentally broken...then one page later, physically, shattered by a diamond bullet that we later find out was fired by none other than Esme, the Stepford Cuckoo whom Emma later says reminded her most of herself. There is definitely poetic symbolism there. As my friend put it “This cycle of her students dying and Emma losing it and trying again but never facing the roots of her issues goes on and on until her roots literally kill her, and Jean of all people resurrects her. Jean, who saw right through Emma, saw something there worth saving, and literally and metaphorically put her back together again.” The next place I’d go is Astonishing X-Men, which is the first time Emma and Kitty work together. Kitty HATES Emma at this point, because, as she points out, Emma is the villain in her origin story. And Emma KNOWS this. That’s why she WANTS Kitty there. She knew that Kitty would keep an eye on her, wouldn’t trust her, and that’s what Emma WANTS, because Emma doesn’t trust HERSELF. So this shows that Emma KNOWS her moral compass is a very flawed one, and that she WANTS to be better so consciously that she’s getting someone she knows doesn’t like or trust her to be around because she knows she’ll watch her like a HAWK. This also means Emma is admitting she can fail, and giving some control to someone else.  There’s. . . so much that happens from here. Utopia. Phoenix Five. The Terrigen Mists shit. Secret Empire. I feel like there are probably great Emma readlists out there that include these, but honestly I just kinda zoned out through a lot of it. These are some additional read lists for her I found: https://lornahs.tumblr.com/post/87230882649/where-to-start-reading-emma-frost-lets-start  https://www.reddit.com/r/comicbooks/comments/2bwwok/emma_frost_reading/  It’s definitely a LOT and I wish you the best of luck tackling it! Also, I wouldn’t feel you have to read EVERYTHING, or incorporate everything into your depiction. Pick and choose what you feel works best for your version!

[tarotbytya]

Pluto Retrograde in Capricorn (April 27-Oct 5)

Pluto is one of the most intense and powerful planets circling the universe. Pluto’s energy is honestly necessary, especially when it comes to making changes and evolving.This retrograde is forcing us to focus on our own personal shadow sides, specifically, the negative parts of ourselves that we may not really like or want to change. We’re focusing on our deepest selves, transformation and our subconscious and two important themes that Pluto highlights is power and desire. During this retrograde, be honest with yourself about how much you’re motivated by a need for recognition, money and authority.

When Pluto retrogrades we are given the opportunity to dig deep below surface level to better acquaint ourselves with our subconscious. Pluto is a slow-moving planet so transits from Pluto to a natal planet could last up to 3 years or more. Because of this, this is one main reasons that Pluto Retrograde are important. Pluto’s movement can dominate entire years of our lives and if one of our natal planets is caught in the cross-hairs of Pluto's retrograde stations, these effects could be intense. During Pluto’s retrograde, we strive to gain clarity on the things that are no longer working for us, so we can release them and move forward as an new and improved version of ourselves. We can either put in the work necessary to transform during this retrograde or end up stuck in a rut. Since this retrograde is occurring in Capricorn, we’re being ask to deal with matters involving karma, structure, and stability—both on a personal and collective levels. You could be more focused on career and status-oriented right now but you should feel eager to get rid of any obstacles that are preventing you from moving forward professionally. Change is on the horizon, whether we’re ready to embrace it or not.

Natal Pluto Retrograde

Natal Pluto Retrograde has karmic repercussions and a noticeable influence.

With natal Pluto Retrograde, you may have difficulty transforming your life due to the fear of letting go. This internalization process of retrogrades can slow you down while bringing your intense drives and needs to the surface. You will probably have difficulty expressing your personal power and influence.

Fear of being controlled or of taking control can stem from past life experiences involving abuse of power or being overly controlled. Depending on the particular past life conditions, you may have a fear of death, poverty, manipulation, torture, imprisonment, being committed to a mental institution, exile, or betrayal. Power and control issues may also involve psychic realms, sex, and inheritance.

For such reasons, you can be very intense on the inside, secretive, or a control freak. Past life conditioning can repeat, especially while young, in the form of compulsions, phobias, isolation, or mistrust of family. You may develop strong psychic power as a result of internalizing your powerful drives and wish for power and success. Hiding your true desire for power and influence can lead to suspicion.

Pluto retrograde in your natal chart subjects you to many fated events that are aimed at bringing your deepest and darkest fears to the surface. A repeating theme of particular experiences will continue until you learn to safely express your inner power and intensity.

Pluto Retrograde & The Signs

Some signs will have an easier time during this retrograde than others. Scorpio and Capricorn will feel this energy very closely—the vibrations from it are ones they’re used to working with. This can be to their benefit. As a mutable sign, Pisces shouldn’t have much of a problem going along with this transformative period.

Virgos are always down for a challenge, especially if it means things can be improved or fixed! Geminis and Leos are most likely be the ones to be thrown off balance. Aries and Tauruses may feel tested, while Cancers, Libras, Sagittarius’, and Aquarius’ will want to take things in stride.

Aries:

You’re known for loving your freedom but this Retrograde is asking you to take a deeper look at what that actually means. If you’ve been avoiding making certain career moves or you’re afraid of being tied down to your profession, the universe could have something to say. A professional opportunity could be coming your way. Make sure you are using this time to figure out how to reach your full professional potential. Responsibility can be scary, but it is braver to face it head-on, rather than run from it. 

Taurus:

Security and stability are important to you. This retrograde is asking you to switch and mix things up in ways you’re not always prepared for. Relationships or jobs may fall to the wayside but the opportunity for internal growth is endless. For others, embracing a childhood dream or taking classes on a subject that you always wanted to learn about will boost your spirit to the next level.

Gemini

Your relationships might feel a little intense during this retrograde. Others may be going ghost or hermit mode but you’ll want to talk openly about your feelings. Although, it could be difficult giving others their space, especially when you’re in the mood to connect, but try not to take it personally. Remember everyone could be sorting through their own emotions, and sometimes it comes at the cost of detachment and isolation. Instead, try to schedule some time for yourself, and don’t be afraid to release people or situations that are no longer serving you. For others, you could be taking a step back to observe or pay attention to the effect you have on others. Re-evaluate the words you use when confronting and addressing other people.

Cancer:

This retrograde might not be that easy. With Pluto being placed in Capricorn, you’ll be directly confronted with the energy of this retrograde. This is the time for you to face any personal or professional issues you’ve been avoiding. Your love life could get shaken up a little as well. Before allowing yourself to engage in an argument, try to find a balanced and reasonable way of understanding your partner's needs to ensure serenity. Boundaries and communication is important right now. You may need to set some in order to gain some time to yourself. 

Leo

Your work-life and balance could come into play during this retrograde. You may need to examine your time management and perhaps even your sleep patterns. Try to map about your priorities and obligations in a way that allows you to have a your career and home life. Also, before others try to take credit for your ideas or work, make sure that you’re making your name and efforts known by everyone, especially your boss.

Virgo:

You could be acting a little bit of a perfectionist which could allow this retrograde to go in either direction. On one hand, you’re always up for change, while on the other hand, you sometimes will hesitate to break away from your habits, if they’ve been working for you so far. Allow yourself to try new techniques and explore new thing.

Libra

This retrograde will have you focused on your home life. Whether you’re on the hunt for a new place to live, settling into a new place, encountering situations with roommates or need to finally clean out the guest room—change is coming. If you’re unhappy in your current living situation put in the work to change the situation. Take the necessary steps to make your home the save haven you deserve.

Scorpio:

The way you think about certain people or situations could change. Don’t be afraid of expressing your thoughts and sentiments right now, especially if it’s with people you want and hope to grow with. Make sure you are allowing others to have a chance to let their feelings be known as well.

Sagittarius:

Your heart wants to move without restriction and Pluto in Capricorn is pushing you to prioritize your responsibilities. Money matters and issues have been creating problems in your life. Tighten up your on finances during this retrograde and make plans to pay off any debt from the past that’s been hanging over your head. 

Capricorn: 

This retrograde will be a direct hit for you. What you prioritize will come into play during this time. If you realize you’re not working hard enough it may be time to make some lifestyle changes. On the other hand, if you’ve been working too hard, consider taking time out to restructure your game plan. Try loosening up the reins a little bit and give yourself a moment of chill.

Aquarius

Healing past trauma is a lifelong process. As long as you're willing and open to look at matters honestly, you’ll be gain a better understanding of yourself. During this retrograde, you may become even more aware of how society needs to evolve. When you’re feeling down about the world, do something to take action toward causes you feel passionate about.

Pisces:

Take some time to consider which of your friends and acquaintances are supportive and positive, versus the ones who aren’t. It’s okay to step back from people who don’t have your best interests at heart.

[universallongings]

Hello, a chenford question! How do you think the ship will evolve once Lucy is no longer Tim's rookie? What's your best guess? (Is this a headcanon question? I don't know what that is lol). I think Tim will be the first to realize his feelings but Lucy will make the first move (in a distant future..). Idk he's so stoic I think he wouldn't act on it if he thought it would harm her carreer.

This is a great question! Realistically, I think it’s going to take a LONG time for them to finally get there (unless the show does some kind of time jump at some point, which I could honestly kind of see them doing—jump to two years in the future when Nolan is a TO, Jackson and Lucy are more established in their careers, and maybe Tim is a sergeant at Mid Wilshire now, and with Lucy being established in her path and a couple of years removed from being his rookie they could expedite the relationship without  the “stigma” on Lucy). But if the show continues with its “real time” storytelling, I can see it being a true slow burn, with both of them having these moments of coming close to figuring out their feelings but backing away—a real push and pull for a while. I think Tim is closer than he realizes already. He knows he cares about her more than he’s ever cared about a rookie and probably more than he should care about a rookie. But I think it’s going to take a while for him to actually allow himself to fully feel and accept what’s already happening. 

I could see something with Rosalind happening that forces him to kind of confront that what he feels for her is different (or even just continuing this undercover storyline). And as for Lucy, I think she already knows to some extent that he cares about  her more than he’ll admit, and she likes it. But I also think she’s not necessarily letting herself think too much about it either because he’s still her T.O. I have a feeling not riding together every day is going to force them to admit they miss each other, and that’s going to lead to them possibly spending more time together outside of actual work hours (that way the show still gets to capitalize on their chemistry too). 

Ultimately, when (yes, when) they finally get together, I think it’ll be Lucy putting herself out there because that’s what she does but leaving it up to Tim to make that last move and finally kiss her. And because we’ll all have been watching Tim work through his feelings (I foresee a “Tim almost admits his feelings for Lucy but she starts dating someone else” story at some point), we’ll know that he’s going to take that leap and go all in. 

Alternately, I could also see a scenario where after a really stressful/near-death experience, one shows up at the other’s house and kisses them without saying a word. But maybe that’s just because so many of my slow burns have finally gotten together that way. ;) 

[nowtransparent]

The Foxhole Court Discussion Questions Part 3 (chapter 12 on and general questions)

Link to Part 1 (chapters 1-6):

CHAPTER 12

39. Did you pick up on the fact that Kevin had Andrew's medicine in Chapter 7? This is the second time it was mentioned. Why would they make that sort of arrangement?

40. Neil finally got to see Kevin's public persona, even hears Kevin say supportive things about the team, and Neil, for the first time. Have you ever had someone believe in you more than you did yourself? Have you known people who act differently in public than in private, or in different groups? Have you noticed yourself doing so? Why do people do that? What are your thoughts on its necessity?

41. Many of the characters' personalities have roots in various psychological behaviours. Can you identify which ones? Did you recognize any vocabulary in the book with psychological roots? Can you describe what they mean or would you like to know? Do you think Kevin is more manipulative or strategic?

CHAPTER 13

42. Kevin guards his words carefully on Kathy's show in an enormous display of diplomacy. Riko also chooses his words carefully, duplicitly aggravating Kevin and pleasing Kathy and the audience. Neil is not so polished. What did you glean from the interview? Were you surprised by Kathy bringing Neil onstage? Riko? What did you make of the confrontation with Riko offstage?

43. Wymack says he and Abby would look out for them, as the staff intends to protect the players. Why would that be worthwhile? Why do you suppose Coach Wymack wanted to protect even the dangerous players? Andrew says, "You gave your game to Kevin. Give your back to me" in an offer to extend his protection to include Neil. Did that shock you? What vulnerable people in your life are in danger of being crushed? What can you do to help protect them?

CHAPTER 14

44. Did you ever think Neil would willing return to Columbia with Andrew's lot? Andrew says, "This is the moment you stopped being the rabbit." What does that mean? How was going to Columbia different this time? Nicky again acknowledges screwing up on the first trip to Columbia (first time being the apology yesterday before the game). Did you believe Neil could trust them? Were you as surprised as Neil to find out that Andrew had kept all Neil's secrets except his fashion contact lenses?

45. Poor Neil; Nicky realizes that Andrew hasn't explained that Neil was expected to become part of the group. Why do these realizations and explanations always fall to Nicky? How do they define family? Had you picked up on the animosity between Andrew and Aaron?

46. What are "Blue laws" and have you heard of something like that before? How can it be helpful to have a law like that? Some places allow shopping on Sundays and some don't. What are the pros and cons of each viewpoint?

47. Were you shocked by Wymack's news about Seth? "I don't understand suicide," Neil said. "Staying alive has always been so important I can't imagine actively trying to die."

"He wanted a way out for a little while, a few hours where he didn't have to think or feel... Problem was he picked an out that's easy to die on."

"Is that why you drink?" Neil asked. "You don't want to feel?" What do you make of this conversation between Neil and Andrew?

48. Did you ever consider Neil's assumption that it was suicide and not simply an accident? What about Andrew's theory that it was neither, but a carefully executed revenge murder? Many of the problems in the team arose as a result of decisions the characters made, often without bad intentions. Sometimes, what we don't know can hurt us. How was that true for Neil and Kevin? Are there similar examples in the world around you?

49. How did you like the ending? Yet another surprise for Neil, being given trust and a place he doesn't feel he deserves. At the end of the book are you left in shock, grief, or disappointment at the death, or are you left with a sense of hope and belief in possibilities and second chances? Have you ever been given a second chance or had the opportunity to offer one to someone else? How can a second chance change the life of the recipient? The giver?

***************** General Questions ****************

50. Regarding social expectations and dealing with the media, how did the principle of "playing by the rules" work out for Neil? For Kevin? For Andrew? What about the rules to which Neil and his mom adhered while on the run? How does the idea of "playing by the rules" work in your life?

51. Several of the characters personified specific attributes. What did the cousins seem to personify? The upperclassmen? The staff? What are the strengths and weaknesses of those characteristics?

52. Who was generally a rule keeper? Who a rule breaker? How did their attitudes evolve over the course of the book? What are advantages to both attitudes? Disadvantages?

53. Neil spent part of his life on the run. What aspects did he like? What did he dislike? How do you think he felt about being returned to society? Was it fair for him to do that? He takes a risk by trusting some of his team, why is that good or bad?

54. What do you take from the book? What were your favourite parts? What made you think? What character arcs did you like least? Best? Who were your favourite characters? Whom would you like to have learned more about? Is there anything you're inspired to change in your own life?

Link to Part 2: