#blessings on you if you read the whole thing

[canine-witch]

Are You In Alignment With Your Dreams?

We all have dreams, goals, and aspirations in life, things which propell us forward and get us up in the mornings. But, sometimes life can happen or other people or circumstances can get in the way of what you want. I intend to let my collective know if they are in alignment with what they desire, or have they fallen off their paths?

Drink some water, pick a pile, and feel free to discard what does not resonate with you.

·̩̩̥͙＊*•̩̩͙✩•̩̩͙*˚˚*•̩̩͙✩•̩̩͙*˚＊·̩̩̥͙·̩̩̥͙＊*•̩̩͙✩•̩̩͙*˚˚*•̩̩͙✩•̩̩͙*˚＊·̩̩̥͙·̩̩̥͙＊*•̩̩͙✩•̩̩͙*˚˚*•̩̩͙✩•̩̩͙*˚＊·̩̩̥͙·̩̩̥͙＊

·̩̩̥͙＊*•̩̩͙✩•̩̩͙*˚˚*•̩̩͙✩•̩̩͙*˚＊·̩̩̥͙·̩̩̥͙＊*•̩̩͙✩•̩̩͙*˚˚*•̩̩͙✩•̩̩͙*˚＊·̩̩̥͙·̩̩̥͙＊*•̩̩͙✩•̩̩͙*˚˚*•̩̩͙✩•̩̩͙*˚＊·̩̩̥͙·̩̩̥͙＊

Group One ~ The Cat

There are things you are avoiding, that you need to address soon, seeker. There may be doubt about your ability, or a lack of healing from past wounds. You have been scarred in the past, more than likely about your dreams and your destiny. Don't fear what other people are saying, or might say about you seeker. Trust in your ability, your path, and your guides. Heal, and know that you are divinely protected.

Group Two ~ The Wine

Your dreams are coming true, but you need to learn how to manage your time and energy. You may have been putting a lot of effort into places or people that either do not need it or you worry about too much. Reclaim your energy, delegate tasks, and follow your own boundaries. Let someone else handle the smaller details, and release burdens where it is needed. You are on the right path, there is no need to control everything.

Group Three ~ The Hands

You need to reach out more to your community, seeker. You may have been judged for your dreams in the past by another community, and it made you hoard your talents and gifts, hiding them from people who should have nurtured you. But, now you are older and wiser, and have more independence and a whole community waiting for you. Speak your mind, share your interests, and don't be scared to reach out for mentorship. There are people who want to help your dreams come true, you just need to put yourself out there, seeker.

Group Four ~ The Rose

You need to work on your dreams in secret, seeker. There may be some energies in your life which do not have your best intentions in mind. When you move, do so quietly. Maybe now is the time to avoid posting on social media. Take ritual baths to wash away the negative energy, and care for yourself. Rest and relax in the moments of solitude you may have been avoiding for productivity or keeping up an image. It's time to move in silence, work hard, and claim your blessings away from the public eye.

·̩̩̥͙＊*•̩̩͙✩•̩̩͙*˚˚*•̩̩͙✩•̩̩͙*˚＊·̩̩̥͙·̩̩̥͙＊*•̩̩͙✩•̩̩͙*˚˚*•̩̩͙✩•̩̩͙*˚＊·̩̩̥͙·̩̩̥͙＊*•̩̩͙✩•̩̩͙*˚˚*•̩̩͙✩•̩̩͙*˚＊·̩̩̥͙·̩̩̥͙＊

Thank you so much for trusting me with your energy and your question, I pray this reading brought you clarity and comfort.

I am accepting free reading requests from now until February 3, and I will be dropping a Kofi shop after this event for a variety of services! Keep your eyes peeled for my announcement, if this is something that calls to you.

May you be blessed, stay safe seeker!

[dickgraysonisnothereforthis]

didn’t realize this was the liberal arts

Jason goes to college. You’re there. And then you show up in his nightlife, which throws him for a loop.

I wish I could tell you what this is but I can’t. i set out to write a meet cute. that's not what happened. Jason is a sad little dude. You’re in one of his college classes, but don’t get the idea that you’re nice about it.

Swearing as always. No use of y/n. I don’t know how long this is.

Edit: whoops, it's a series. rest of it is on my masterlist

————

Jason’s trying.

He is. He’s taking the tattered remains of his life and trying to shove them together, mash them into something liveable. Or at least, manageable. Something he can stand to survive.

It’s difficult. He rose from the Pit with a brain that didn’t quite work, didn’t crank like his half forgotten memories told him it did when he was fifteen. He couldn’t string two thoughts together, couldn’t make the synapses fire. Nothing at the helm but the searing pain he brought with him when he woke up, telling his heart to pulse just to find something to do about the feelings of rage and despair that submerged him.

Which, of course, led him to his stupid plan to kill Bruce.

It didn’t work. And it wouldn’t have helped anyway.

His head finally cleared when the dust settled. It dawned on him that he was blessed (ha) with a new lease on life, or something, and he should probably act like it. He should probably get off his ass and make the most of it.

He ends up doing the only things he knows how to do. Jason patrols and goes back to school to get his GED.

The fighting is obvious. He’s lead with his teeth his whole life, he’s not about to start pulling punches now. And a little purpose never hurt anyone, he figures. It helps, most of the time.

More surprising is how much Jason enjoys going back to school. It had started as a passing thought, but he’d forgotten how much he missed it, the freedom to relax and let his mind whir in circles. Bruce had given him the stability to clear his head and focus in the classroom, and he’d soaked everything up like a sponge. When he goes back he discovers, much to his delight, that he’s actually alright in the head. The lights are on, thank god, and soon enough learning comes easy to him, just like it did when he was a teenager. What a relief, to have that back.

He finishes out the GED and figures what the hell, he might as well keep going, and enrolls himself in Gotham U. He is, he realizes, fulfilling a long-lost dream he’d spun for himself back when he was living on the streets. It makes him quietly satisfied, and he pushes through his first semester.

So this is where he is. He comes home at 4am, showers, sleeps for a few hours, then wakes up for class. Dick calls every other week, Barbara patches herself into the line in his helmet without his permission, and he ignores them both. He registers for a course on seventeenth century literature and reads don Miguel de Cervantes, and Margaret Cavendish, and Shakespeare, of course, but also Galileo, which is fun. He brings his books to class, he makes notes in the margins. He searches the authors’ lives on Wikipedia and tries to make text to world connections, just like he learned in school. He looks around the table at the other students and reckons with the fact that they are not, and will never be, like him. Or rather, Jason is not like them. They’re younger, for one thing, but also infinitely more innocent, which feels stupid to say, but it’s true. Whatever they’ve had happen in their uniform lives is absolutely nothing compared to his, and Jason can put that right in his pipe and smoke it for all the good it’ll do him. But he can’t help thinking it, as he eyes them carefully. There is a chasm separating him from them a mile wide, and that’s all there is to it. He’s not like them. Not like you.

You sit next to him, sometimes. You smile at him briefly as you sit down, then remain silent. You don’t speak often, which is notable in a small seminar. Not that Jason does either. A few weeks in he realizes you speak once per class, unless asked a direct question. Your comments are always summarizing, reminding others of the various ideas discussed and offering options of where to go next. It is immensely helpful when you direct traffic like this, and the discussion tends to be clearer after you speak. He peeks at your copy of Paradise Lost spread open under your fingers to find neat little notes, passages underlined, a few question marks. You’re never late, and you always thank the professor before you leave.

Imagine his surprise, then, when he finds you after dark, kicking the shit out of his perp.

You don’t hear him approach, climbing into the man’s apartment with a thud as he realizes someone had started his work for him. He thinks he recognizes you from behind, except that would be crazy, so it can’t be you. What would a university student be doing here? Jason doesn’t count.

It can’t be you, but he’s not sure, so he clears his throat to interrupt. You look at him over your shoulder with a look of such savagery he almost takes a step back.

Yeah. That’s you. Huh.

The cognitive dissonance threatens to give him a migraine. You look him up and down, raise an eyebrow, then turn back to the man lying on the floor and deal him another blow. The man groans, which doesn’t faze you, but Jason snaps to attention.

“I gotta question him.” It’s true, Jason thinks this man has intel on Black Mask’s dealers.

You whirl back around. “That doesn’t seem like it’s my fucking problem.”

Holy shit. Who the fuck are you, anyway?

“Listen, princess,” he begins, grabbing your wrist and pulling you towards him. This is the first time he’s spoken to you, and it amazes him that he’s doing through the modulator. “I got shit to do here, you gotta get out of the way.” You try to slam onto his foot, then recoil, hissing in pain. “Steel-toed, sweetheart, that won’t get you anywhere.”

“What do you even need to know?” you ask furiously. “You target Black Mask, right? You’re wondering if Black Mask is his supplier? He is, there’s checks on the table.” You nod to a modest desk in the corner.

Okay. Yeah, he did want to know that. “Thanks, princess, but I’ll take it from here.”

You wrest yourself from his grip. “No,” you say stubbornly, “I’m not done.”

“Yeah, you are.” Jason eyes the perp, realizing he’d fallen unconscious. Shrugging, he turns to the desk. You’d clearly gone through it, receipts and bills are littered on the table, but there’s a locked cabinet you hadn’t opened. Kneeling, Jason takes out his lockpick.

He keeps an eye on you as he goes to work. You haven’t left, although he’s not sure where you would go, or even what you’re doing here. You watch him warily, folding your arms over your chest. It takes him a few minutes, but eventually the lock clicks, and he slides the drawer open. It’s pretty bare, mostly cash and, aha, a notebook that’s gotta be important.

He holds it for less than a second before you rip it from his fingers, moving across the room and flipping the book open. He grunts in surprise and follows you, only to find himself with a glock in his face.

Instinct tells him to draw his own weapon, and his hand drops to his hip, but he forces himself to freeze. You’re definitely a civilian, despite whatever the fuck you get up to in your free time. You’re not dressed in any kind of practical gear, just a loose fitting sweatshirt and leggings. Jason scouts you out and realizes that the gun in your hand probably isn’t even yours, you don’t have a place to put it. You must have disarmed the perp before Red Hood had gotten there. Jason files that away for later.

“Let me look,” you demand, and Jason nods. You keep the gun on him, holding the notebook open with one hand and studying it intently. It is so like the image of you in class that he almost laughs out loud. Whatever you’re looking for, you clearly find it, and you mouth something over and over, memorizing it. Then you shut the notebook and hold it out to him.

He takes it cautiously. “You need a ride out of here?”

You roll your eyes. “No thanks, dipshit,” and with that you shimmy through the window and bolt down the fire escape.

Jason blinks. Okay.

He follows you anyway, watching from the rooftops as you make your way across town. It takes you a long time, nearly an hour, and Jason worries that something nasty’s gonna go down, but it doesn’t. You trek resolutely across the city, same steady pace, before letting yourself into a nondescript apartment building, an easy bus ride to the campus. He stays for about twenty minutes, but you stay put.

Jason raps a gun against his helmet. Weird.

He tries and fails to wrap his head around it as he finishes out the evening. It’s just not adding up. Jason doesn’t know you well from class, obviously, but you’re such a far cry from what he saw tonight that it’s hard to believe. He’ll have to do some research, he decides, scope out what else you do besides studying and beating up on Jason’s bad guys. Maybe he’ll even ask you about it in class.

He laughs to himself as he heads back to his own apartment. Weird weird weird. Weird performance you gave him, weird enough to keep him up at night. Oh well. You don’t know it, but he’ll see you tomorrow.

————

lol what is this? what is this? a series, hopefully. otherwise I have no freakin’ idea

[maeevel]

The tnacau time travel ideia is honestly one of the best things I’ve read today. The sheer confusion Apollo and Poseidon must be feeling thought out this whole thing sends me.

Apollo: BUT WHO ARE YOU? WHERE DID YOU COME FROM? HOW DID IT TAKE ME THIS LONG TO NOTICE YOU. How do you know I won’t kill you?! Obviously I won’t, BUT HOW DO YOU KNOW THAT. Why do I feel like you hold the very essence of my existence in your hands?? You know what, fuck it, I’m kidnapping you and we’re getting married.

…

WHAT DO YOU MEAN WE’RE ALREADY MARRIED. I know that’s true, I can feel it, but I refuse to believe it, I dreamed of my wedding for centuries and BY THE FATES I will have my dream wedding, get up we’re renewing our vows.

Poseidon: BUT WHO IS SHE? WHERE DID SHE COME FROM? HOW DID IT TAKE ME THIS LONG TO NOTICE HER. Is Zeus right??? Was I just blackout drunk when I met her mother? Did I gaslight myself into forgetting the whole encounter?? Did someone come upon me while I was unconscious and defenseless and had their wicked, wicked way with me???

(Camera rolls back to see the incredulous looks being traded between Amphitrite and Triton (and Delphin))

Fuck it, I need answers. Best go to the source.

…

WHAT DO YOU MEAN SHE VANISHED-

… why did Apollo just send me a hundred of his blessed cows as a bride price.

Thank you!! It's honestly the funniest thing ever. Apollo upon hearing that he's married would faint like an 18th century maiden. Poseidon would just be in a perpetual state of shock. Percy is like catnip for the gods, even in Ancient Greece 😭

[sabine-smitten-obviously]

Good Omens - January reads part #2 - fanfics recs 🤓🩷

Follow along for short summaries and recs on the books i read🩷 The numbers are for funsies - i want to count my reads throughout 2025.

I only read finished stories and one-shots. You will find no WIPs in here. Also you will only find happy or at least hopeful endings here - i couldn´t handle anything else.

Also i try to find every author here on tumblr to link-to, but some times i am out of luck. If you happen to know them, please tell them, write to me in the comments or DM me and i will update the post!

Ratings in ()

Multichapterfics

13] Or Be Nice (E) by @charlottemadison42

Aziraphale ist happy to move into his new appartment in Soho after his breakup. What he is not so happy about is the noise nuisance of a neighbour he has, who likes to play his drums in the middle of the night. When the nice and polite way of finding a solution through talking seems futile, its time to try another way.

One of the best enemies-to-lovers human Au i ever read, a classic must-read for everyone in the fandom. The banter is hilarious!

Best laugh:

Aziraphale: "You can walk."

Crowley: "Allegedly." 😂

14] Any foolish Thing (E) by @caedmonfaith

Human Au. Crowley is a lawyer - and a real asshole. His businesspartner threatens to cancel their partnership unless Crowley takes a month off. So Tadfield it is. Surprised by sudden rain he stumbles into a shop full of books and candies. You'll never guess who the owner is. 😉

15] Arise my Darling and go forth (E) by @naromoreau

Human Au. Father Aziraphale likes his perish and is shocked to learn that a second priest will join him. But father Crowley is rather pleasant to be with and soon they both find themselves questioning ... everything.

The story takes turns in the POV and lets the reader glimpse into their inner turmoil - they are men of God, after all. Beautiful language and art! 🩷

This wonderful art is unrelated, but i am so in awe with it that i wanted to share it. You will find it here and it is by @flypanegg88 !

16] Epistolary (E) by @maaikeatthefullmoon aka Imposterssyndrome

Set after the end of S2, Crowley discovers Aziraphales diaries in the bookshop. He learns like A LOT about how the angel feels and their missunderstandings throughout the centuries. As he can´t talk to Aziraphale any more, Crowley starts a diary as well.

This is part-1 of a series!

17] 1888 (T) by Imposterssyndrome aka @maaikeatthefullmoon

Technically a oneshot but it is part of this series. 1888 is a diary-entry of our angel about this one time he tried to learn the gavotte.

Can be read as a stand-alone but probably doesnt make any sense without

18] The Angel Miscalculated (E) by @imposterssyndrome aka @maaikeatthefullmoon

This is part 3 of Epistolary, we get to know Aziraphale´s point of view while up in heaven.

The whole series ends practically in between S2 and S3. I don´t know whether further installments are planned - but i´ve got you covered!!

19] And i did [E] by @di-42

This is so funny, i was the beta for this story and it fits perfectly after the end of part-3 of Epistolary (see above). This story starts out with Aziraphale up in heaven and Crowley being the Grand Duke of Hell. They are on opposite sites - aren´t they?

"The angel deserved to know how marvellous he was being and how enraptured he was making Crowley feel.

“Angel... ngk... fuck!” he squealed. Nailed it, Crowley, well done." 😂

20] Aziraphale´s naked man friend [M] by @naughtyspirit

Set between S1 and S2, Aziraphale opens to door of his bookshop to find a naked Crowley outside. The demon has lost the memory of the last 24 hours and together they go on a quest to find out what has happened. If they happen to choose a "date" as cover-up for their investigations, it is only because it would help their quest. Of course.

Very funny and nice read, biggest laugh: "Once a wily serpent, always able to wiggle."

Oneshots

21] Bless you (T) by @terrorandchaos

Its been a nice afternoon in the bookshop. That is, until Crowley sneezes and Aziraphale mindlessly says "Bless you." To a demon.😅

22] Strokes make clean the innermost parts (E) by @depraveddame

Father Crowley feels the need to punish himself after a night with his gardener Aziraphale. Things do not go as planned ... pls do mind the tags!!! 🌶️

23] The co-pilot (e) by @e-rated-beardo

Human Au. When policeofficer Aziraphale sits in the Pub on a friday evening, he is quite happy to see his friend Crowley joining him for a pint. Though - honestly - the bottle of wine Aziraphale has up his flat light be a better idea. 😁

24] A wish your heart made (G) by @avoicebehindthestars

Set after they averted the second coming. Crowley asks Aziraphale about their future.

Be careful with this one and do mind the tags - this is my big exception from the "only good endings"-list. Still - worth a read! 💔

25] My songs know what you did in the dark (E) by @hazelsage

Aziraphale learns that humans fear dangling their legs out of bed, because a demon might lurk underneath and grab them. He tells Crowley about this ridiculous fear. And dangles a leg out of bed that night. 😉

26] You're Back (T) by @avoicebehindthestars

35 years after hell has taken him, Crowley finds himself back in London with a splitting headache, unable to do anything but lay still in the ground. Aziraphale finds him and helps him recover. 🩷So tender!

27] If you were church, i'd Go down in my knees [E] by @hazelsage

When Crowley gets to watch an angry Aziraphale defending his bookshop against measly investors, he only knows one way of worshipping his Angel. 🌶️

28] Hot Whiskey Eyes [E] by @hazelsage

Sometimes Crowley needs his mouth stuffed to be able to shut up his incessantly brain. Thankfully Aziraphale likes to help. 🌶️

Reading keeps me sane. Thank you all for writing! 🩷🤗

[felassan]

Some more DA:TV and related snippets from Sylvia Feketekuty, Part 5. rest of post under a cut due to length and spoilers. [Post One, Post Two, Post Three, Post Four]

Sylvia Feketekuty: "I agree, the Necropolis IS gorgeous, I was blessed with wonderful level artists, lighting artists, and a fantastic LD who poured their hearts into making it it." [source]

Sylvia: ""But what does Manfred think about Spite?" Good question. Manfred is curious, as always, and can probably sense Spite's on his own plane of existence (in other words, another spirit.) But Manfred also doesn't have a greatly evolved sense of danger, he might not understand Spite's "moodier" moments. I also think Manfred isn't as sophisticated a spirit as Spite at the start of the game. (Though don't let Emmrich catch you saying that!)" [source, two]

Sylvia on Emmrich: "He was a team effort, and I have to especially thank the writers and editors for their early feedback that helped shape him. Emmrich wouldn't have worked as well otherwise." [source]

Sylvia: "it's a huge honour to work on a character who's someone's favorite anything, let alone romance. (Huge props to Allegra, her actor, who just got Josie right away.)" [source]

Sylvia: ""With Cassandra being our only POV into Nevarra" Poor Cassandra. (Emmrich has such respect for her uncle's books!) "There's a lot of deep respect and empathy for all the ways people relate with death and I appreciate it"" Thanks, that was something I'd so hoped would come through." [source]

Sylvia: "It really was a team that brought Emmrich, the Necropolis, and the rest of its guardians to life, I know everyone would be thrilled to know you enjoyed it so much." [source]

User: "Emmrich's fear of mortality really hit hard. Some of those lines are etched into my heart now. Thanks to everyone who helped put that deeply relatable and human experience into the game" // Sylvia: "It was kind of the core of Emmrich, writing the part where he opens up about his fears, so thank you for sharing that, it means a lot." [source]

Sylvia: "I loved writing the MW branches and letting people be a nerdier flavour of Rook with Emmrich." [source]

User: "Nevarra, Mourn Watch and in particular Emmrich's personal missions were amazing! The whimsical and the grotesque in perfect balance. When I replay next year I'll be looking forward to those missions the most!" // Sylvia: "Especial praise goes to the level designers for tackling a bunch of complex stuff in those missions as we planned them out." [source]

Sylvia: "I think we can all agree Emmrich might be a touch eccentric, but I really wanted his interests and compassionate outlook to be heartfelt, so this is lovely to hear." [source]

User: "I was so nervous about the whole Necropolis gang as I have PTSD and a major fear of death. So when Emmrich confided in Rook about his own fear, I was struck with such an unexpected comfort. I've never heard someone describe my own fears and how they make me feel so perfectly." // Sylvia: "Thank you, Bibi. It's a very familiar fear for me as well, and I find sometimes talking about it can ease things. So I'm very glad to hear Emmrich's thoughts on it were helpful for you." [source]

Sylvia: "I like a good sinister necromancer, but really wanted to try something different with the Mourn Watch, something more akin to a sacred duty." [source]

Sylvia on the Necropolis: "The concept, lighting, and level artists, and the level designer, did so much cool stuff there IMO. Seeing it with the final art and lighting in for the first time was a thrill for me too." [source]

User: "special thanks for the Terry Pratchett references in the form and speech of Vorgoth. I don't know exactly whose idea it was, but it was great!" // Sylvia: "Aw thank you so much! Re: Terry Pratchett: oh man, I read nearly every Discworld book multiple times, absolute favorites growing up." [source]

User: "I kinda of assumed that Emmrich just calculates age in academia terms, so no matter how many physical years old your Rook is, you're just a tiny baby who hasn't completed a necromancy phd. "When I was your age" = "When I was a TA."" // Sylvia: "Yes, yes that math checks out." [source]

User on Emmrich: "how refreshing it was to have an argument with a LI that’s specific to their relationship. It gives the characters such texture and dimension!" // Sylvia: "Aw thank you! I liked the tone range we ended up having between everyone, it was more rewarding to do." [source]

User: "Would you guys ever expand more on Nevarra and its culture? I loved seeing the Necropolis, and hope we revisit it. But I'll be honest when I say it made me curious what life in Nevarra is like, and how infused Nevarra's Mortalitasi are with average Nevarran life." // Sylvia: "Since I've left the company, that's not really in my hands, so there's not much I can say. But I get what you mean, because the Mourn Watch are a subbranch of the Mortalitasi with a very special field of study and service. We don't really get much about everyday Nevarra. So whoever tackles that in the future, if they ever do: I think that could be neat. Lots of room to explore different dynamics and customs!" [source, two]

User: "I adore Emmrich, he's so sweet & so thoughtful! I especially adore his love for flowers, and I personally interpreted that as a hint from the writers (you!) that choosing to embrace his fleeting mortality, like the fleeting beauty of flowers, was his "good" path - is that correct? What's your take?" // Sylvia: "I tried really hard to make either choice feel like it could be the right one for him, because I wanted it to be more about a player's own interpretation-and their relationship with him-than author fiat hinting at which one is correct. Also thank you for the kind words! I really liked writing Emmrich enthusing about flowers." [source, two] // User: "He's such a charming character, the vibes of him and Josephine are among some of my favorites in the series, thank you for helping to shape them and for being kind enough to answer my question! Do you, personally, have a preference for which choice Emmrich makes? It's a tough call to make in game!" // Sylvia: "I'm afraid, like a coward, I've not stated a preference because I don't want to accidentally influence people into thinking one was right or not. I'm also in a weird place where as the person writing him, my thoughts are far less subjective in weird recursive ways. If that makes sense." [source]

User: "do you have a favorite flower? It was such a lovely detail in Emmrich's character and it warms my heart to know writing that was enjoyable for you" // Sylvia: "It kind of changes depending on what's growing during the season, but while it's very common, you can't beat the scent of a rose. (Fond of lilacs too)" [source]

User: "Did you have any role in Manfred's wisp being lilac when/if you bring him back? That detail made me bawl 😭 Manfred was so shaped by "living" with Emmrich that his essence became Em's favorite color?! The only wisp we see to do so?" // Sylvia: "I wish! I actually don't know who did that. I'd assume that colour was chosen by one of our animators, or maybe the LD, so perhaps they added in that detail, which is adorable. (Carly, Derek Wilks, was this either of you?)" [source] // Derek Wilks: "I think that was someone in VFX actually!" [source]

Sylvia: "Glad you enjoyed the graveyard date, our animators and music director did wonders there." [source]

User: "Can you give us any hints on when Dorian spent some time at the necropolis? I need to know their circumstances for science (how old was Dorian back then? I could imagine he had a crush on the professor lol)" // Sylvia: "I'm going to chicken out and not pin that down (sorry.) Since I've left BW, my answer would be even more non-canonical than usual, because that would've been something I'd have wanted to talk over with the other writers. But by that same token, nothing I've said invalidates what you want to imagine." [source]

Sylvia on Emmrich: "I am flattered to hear he has become a favorite romance, the team went all out on him." [source] // Sylvia: "So many people worked on those scenes: animation, art, audio, the editors, and huge kudos to his actor Nick Borraine." [source]

Sylvia: "I THINK Emmrich is 6'2 or 6'3, but you'd need a character artist to confirm." [source]

User: "Do the necromancers of the Grand Necropolis have their own sort of culture? Like perhaps their own rituals for marriage, courting, etc.?" // Sylvia: "Hrm. Good question. I'm sure they have some individual quirks and traditions, like any long-running institution. But they probably don't deviate unrecognizably from the mortalitasi norm." [source]

Sylvia: ""i also played a trans rook, and some of emmrich's content for a romanced trans rook made for probably some of the best romance content of all time for me." That's so nice to hear, and I must give credit to some trans people who kindly took the time to give me feedback that made those lines better." [source]

User: "1) are Tevinter exchange students like Dorian common? 2) what are some of the other fraternities of the Mortalitasi? 3) do members of the Mourn Watch often attend social events with the Nevarran elite like other Mortalitasi?" // Sylvia: "1) Yeah, I think they're not uncommon. I took my inspiration from The Grand Tour, and thought it would make sense if Tevinter sent out some of the wealthier scions to see the world a little, pick up a few new spells. [link] 2) I'm afraid I've deliberately left this one blank, for future people to fill in if/when the need arises. Emmrich complains about the palace necromancers, so we do know there's a special cadre of mortalitasi running the show over there. 3. Absolutely. The MW are pretty prestigious in Nevarra with their running the Grand Necropolis. Much as Emmrich dislikes politics himself, there's probably a lot going on at the top." [source, two, three]

User: "Do you think Lich Emmrich would eventually be told by the Lich Lords to sever his mortal ties and return with them to the depths of the Necropolis? It seems like he’s willing to break all their rules to keep Rook with him" // Sylvia: "I'm afraid defining Emmrich's duties/responsibilities/required conduct as a lich would very much be something I'd leave up to the future (even if I were still at BW.) Kind of too big a topic for me to want to speculate here." [source]

User: "did you have a hand in designing how emmrich looks?" // Sylvia: "Yep, I gave feedback as his design progressed. Our concept artists really got him very early on, though, so it was smaller stuff." [source] // User: "was he at all inspired by Peter Cushing & his hammer film characters? He really gives off van Helsing vibes to me" // Sylvia: "Time permitting I want to do a post on influences, but you got it in one exactly. It was specifically the Hammer films I was thinking about!" [source] // User: "would Rudolph van Richten from Curse of Strahd be on his list of influences?" // Sylvia: "I'm afraid, to my shame, I never read much of the core Ravenloft books, so that one's a no." [source]

User: "I needed you to know that Emmerich's conversation in the Memorial Gardens about his thanaphobia really got me. I could never put the words together of what thanaphobia feels like, and his description is perfect." // Sylvia: "It's a familiar feeling to me as well, and I'm glad it rang true." [source]

User: "I've got a really severe death phobia that's been flaring recently, and emmrich's conversation about it captured the feeling perfectly and helped lessen the weight for me" // Sylvia: "I find at least discussing it can ease it, sometimes, so I'm very glad to hear getting to know Emmrich helped in that way." [source]

Sylvia: "Hezenkoss was a blast to write so I'm glad she clicked for you. "preposterous is what you wore to a bog, Orlesian" Oh wow, Skywatcher! It's been an age, so glad that line stuck with you. That takes me back!" [source]

Sylvia: ""And yet I ask the question - what attracts Emmerich to the Hand? Yes, the answer is “perseverance”, but I think this is not fully explored." Do you mean the Hand of Glory specifically? He's intrigued and disturbed by the magic around it, which is why he hones on it, even before he knows its origin" [source]

Sylvia: ""I was wondering if you could tell us about his & Manfred's first meeting or notable moments in their friendship?" This feels like something I'd probably want to leave more to the imagination. And because I'm not a BW anymore, answers would be even more non-canonical than normal. All that said, for some reason, I always pictured Emmrich being alone in the Necropolis the first time Manfred's wisp floated up to him to peer at what he was doing. It just seems a little more poignant that way." [source, two]

Sylvia: "All credit to the team, especially the writers and editors who gave feedback that made [Emmrich] so much better during those early days and beyond." [source]

User: "me + a handful of people were wondering about non-mage mourn watchers! id love to hear your notes/thoughts about them! b/c i didnt remember hearing how they become MW or if reaper uses death magic!" // Sylvia: "Sure! Not much to say, though, I think the MW is likely a mage majority fraternity that accepts a few non-mages who have exceptional skills and temperaments sympathetic to the Necropolis. A warrior of great renown, a rogue of exceptional stealth and quiet, a baby found down there in a grave, and so forth. They'd certainly undergo the same kind of oaths and bindings every Watcher goes through. I always pictured them being provided with the best enchanted gear the MW has to offer too." [source, two]

User: "Hi! About Emmerich being a professor—does he teach at a Circle, or is he specifically a professor to other MWers and Mortalitasi? It seems like the MW has some sort of official schooling for its members since he regularly takes on students each year, could you comment on that at all?" // Sylvia: ""It seems like the MW has some sort of official schooling for its members since he regularly takes on students each year, could you comment on that at all? " Sure, but I think you have it, the MW seems to want to raise well-rounded students with a classical education on top of magecraft. In my mind, it was because they saw every MW as representing the Grand Necropolis, so of course they wanted its members to have training in etiquette and history and generally be able to move in polite society." [source, two]

User: "If I remember correctly, we only really see Emmrich use necromantic magic in-game. Are there other types of magic (elemental, healing/spirit, etc) that you think he would gravitate toward?" // Sylvia: "Hrm. He does have a bit of healing magic, mechanically in combat. It coudl work, but somehow I don't think Emmrich would ever be a high-level healer. He could maybe get the basics but it's not his great gift. Something about the gravic magic of the force mage specialty feels appropriate though." [source]

Sylvia: ""would it be possible for a (romanced) MW Rook join Emmrich in linchdom, eventually?" Yes: Rook can try, bc it's not forbidden to seek the knowledge out. (Emmrich makes it clear Hezenkoss pieced some of it together herself, so we've also seen another mage get it almost-right) It is very hard and probably takes decades to accomplish (and of course, there's no guarantee Rook would survive.) But everything written in game points to there being a chance." [source, two]

User: "I’ve been thinking a little about it and I know it’s mentioned in the game he would be interested in visiting - but how would Emmrich feel about visiting the Avvar in the south? They are one of the few groups that show respect for spirits in a similar way and I imagine he’d have a lot of questions." // Sylvia: "He'd probably love it. He'd be fascinated by their relationship with spirits, in the ways it mirrors and deviates from the Mourn Watchers' own practices. (I imagine there is also like a 15% chance he gets into a heated argument with one of them over a fine point of how spirits work exactly.)" [source]

User: "congratulations on another achievement, Emmrich took the silver trophy" // Sylvia: "I was so excited to see we'd gotten the silver trophy! I hope everyone who worked on him sees that." [source]

User: "Is there anywhere we can follow your future work after this account gets shut down ?" // Sylvia: "TBH I'll probably just reopen it it there's any cool news to share since I don't have a website or anything. (I THINK I can just reactivate it?)" [source]

User: "Thank you for Lady Josephine Cherette Montilyet, emmrich, Liara and Leigon!!!!" // Sylvia: "Thank you! (I should mention I was only a part of Legion in ME3 - specifically the N7 mission into the Geth Consensus. Great fun to work on that level though.)" [source]

Sylvia: "I'm lucky to have had the chance to bring Emmrich and Josephine to you all with the rest of the team." [source]

Sylvia: ""I still remember when you introduced yourself on old BSN when Lair of the Shadow Broker came out." Wow, you're right I did! That is a blast from the past. Thank you for the kind words!" [source]

User: "Just wanted to say thank you for all the amazing characters you helped bring to life in DA and ME. I really enjoyed Emmrich and Hezenkoss in DAV. The dynamic between them really made me laugh" // Sylvia: "Thanks! That was one of my favorite pairs to write, the history between them meant everything was always a little more personal, which is always fun." [source]

Sylvia: "Thanks Janette, loved writing Hollix." [source]

User: "Elements of Emmerich's costume resemble the Cerberus logo from ME. Is this just a reference or is there something more to it?" // Sylvia: "Gee, I can't say for sure because I didn't make it, but I'd assume that one's just a coincidence (since the Mourn Watch and Necropolis use hexagonal shapes as their primary shape language)" [source]

User: "I can just tell how well Emmrich is written along his fear. I lost my fear of death and dying as I began to honor the dead." // Sylvia: "I do think talking and thinking about these things more than we normally do helps eases the fear." [source]

Sylvia: "Thank you for these lovely thoughts. I did read some books about different customs around death, and I know a little about pagan/occult/magic practices (in a very basic and generalist sense.) So it doesn't surprise me per se, but I am very glad to hear getting to know Emmrich was a positive thing. And I'm also very glad to hear he's someone you feel you can take into the future with you as a helpful friend." [source, two]

Sylvia: ""Does Emmrich have any guilty pleasures?" Huh. Excellent question. I should really be more decisive about my own character, but while I think that could be fun, I'm not sure what it would be. "Oh one other question , is there a part of thedas you wish you could of explored but wasn't able to be in game?" I've always been interested in the sinister sounding Sea of Ash. What goes on over there???" [source, two]

User: "i have a silly little question bc i also love emmrich. was his scene revealing lichdom to everyone meant to parallel a trans coming out or was that accidental? because i felt on an existential level the thrill of revealing who you are, but also fearing people would be afraid or treat you differently. (and then there's strife discussions, and putting up a glamour some places but not others, and the blooming but gentle self-confidence... he is very transgender to me)" // Sylvia: "Not a silly question at all! After writing the scene I wondered if people would see similarities because of those overlapping themes you pointed out: the dignity of bodily self-determination, revealing your true self to those you love, fear of rejection, hope for acceptance. But during the writing, I mostly approached becoming undead as its own thing, because I wanted to ground it in the MW's particular philosophy. I think there's parallels because of the way the human personal is universal, if that makes sense. That said, if this does feel very transgender to you or anyone else (or not), I'm not against varied interpretations. That's one of the cool things about seeing people actually get their hands on your work." [source, two, three]

User: "I'm not sure what Emmrich's hairstyle is, slickback?" // Sylvia: "Good question. Afraid I don't know what it'd be called either. Googling it, slickback LOOKS correct?" [source]

User: "Emmrich has definitely developed a special bond with Bellara and Lucanis, and yet, both of them don't comment on his relationship with Rook! What would you say their reaction was? Their banter was so good I'm sure we'd all love to know what Emmrich had to say!" // Sylvia: "Ah, that one I'm afraid I can't answer since I'm not their writer, and that would've been something I would've discussed with the narrative team together. Sorry!" [source]

Sylvia: "Nick was indeed brilliant!" [source]

User: "Ive got quite bad thanatophobia and Emmerich's writing is one of the only times I've seen that dealt with actually respectfully." // Sylvia: "Thanks very much! I've experienced that fear, and I suspect it's way more common than we think, and I'm glad to hear it felt that way to you." [source]

User: "My HOF was a spirit healer, very kind & very curious, & for years I've considered how that special connection to spirits might lend itself to an interest in Thedan necromancy & puzzling out where spirits & souls begin & end. Emmrich, Manfred/Curiosity and the wisps gave me so much to think about!" // Sylvia: "that's interesting about your HOF. They may've found some kindred spirits if they ever ventured further north." [source]

User: [was] "Dorian was taken over by a nominated writer for veilguard or if his legacy was more of a team effort ?" // Sylvia: "Dorian was in the capable hands of Writer Chee" [source]

User: "I’m also dying to know what Emmrich did during Rook's stint in the prison-my thought is he not only did the majority of the work on finding Rook, but in leading the team, prob finishing touches on the dagger clone, keeping the team together in Rook’s absence while barely holding himself together at times" // Sylvia: "I think he was indeed having some very sleepless, guilt-wracked nights, working himself too hard, and trying his best on that dagger." [source]

User: "I just wanted to tell you that I love Emmrich's part of the lighthouse the books the fact that it's right next to rook's room and that johanna is in it later and that you can talk to her" // Sylvia: "Thank you! I love what the level artist there did, it's such a cozy den of a place. And I'm glad you liked meeting Hezenkoss afterwards, all praise to the level and tech designers who got her in there." [source]

User: "Are the Watchers overall vegetarian, or was it a personal preference Emmrich developed?" // Sylvia: "I think it's a thing among some Watchers, but not all. Because they think a lot about life and death and the cycle of life, and their place in it, and what constitutes a death they feel comfortable with or not. My actual, original inspiration for it was from an old Call of Cthulhu TRPG book about Miskatonic University, set in the 1920s. There was a great little detail about the campus having a cafeteria that serves vegetarians. And when I read it, I got a little jolt because I was so used to vegetarianism in North America being portrayed as a relatively modern movement. But of COURSE there's always exceptions and cultural enclaves and so on. Just one of those moments you feel your understanding of what we were up to in the past shift a little, even if it felt obvious in retrospect." [source, two, three, four]

Sylvia re: writing Manfred: "Yep, Manfred was my guy too." [source]

Sylvia: "I'm glad you enjoyed meeting our gentleman necromancer. (Full credit to the great feedback I got from the other writers and editors early on, he wouldn't be as good without them.)" [source]

User: "I was curious I know none of emmrich's serious relationships ended up panning out But like did any of them get to the point that him and his partner at the time shared a living space I'm wondering if emmrich has ever lived with anyone besides manfred" // Sylvia: "That's an interesting question. Like a coward I will hedge my bets, but I could MAYBE see a few. Not many though." [source]

[cartoonhorses]

Rooms Without Light

dad! Curly x female! Reader

warnings/triggers : non-con, incest, male masturbation, somnophilia, takes place on earth

word count : 700+

author’s note : sorry if this is a little dark guys 😣 I just love dad! Curly sm. and the ending is SO rushed so I apologize!! (didn’t read over this so expect grammar mistakes)

MDNI

Curly had worked tirelessly for everything he achieved in life. From countless milestones, one of his proudest was earning his place as the pilot of the long haul space freighter, Tulpar. Yet, even that paled in comparison to what he considered his greatest accomplishment—you.

You were Curly’s daughter, his pride and joy—the one who made his life whole. Even after your mother left, abandoning the two of you, Curly stepped into the role of a single father with unwavering determination, raising you on his own and finding his greatest purpose in you.

Admittedly, he struggled at first, but over time, he found his rhythm. Despite the challenges, he was proud to see you grow into a remarkable young woman. When you went to college nearby, it was a blessing for both of you—you could stay at home, and he cherished having you close most of the time.

You were the only person Curly had after your mother left—the only woman in his life. Maybe that’s why he developed a crush on you. How could he not? You were captivating: brilliant, driven, and beautiful. In some ways, you even mirrored parts of him.

At first, his little crush was harmless—just a fleeting admiration he never intended to act on. But as time went on, the way you dressed grew more revealing, and he found it increasingly difficult to keep his feelings in check.

He started doing things he never imagined himself capable of. Late at night, he would quietly slip into your room, at first just to catch a glimpse of you. His pride was too strong to let him openly admire you during the day. But then it turned to touching you whilst you slept, completely unaware.

Curly preferred to keep your clothes on, claiming it was somehow more respectful that way—as if that small mercy made any difference. In his twisted mind, this was a courtesy, something you might even be grateful for if you ever knew. A shred of decency woven into the fabric of his violations, or so he liked to believe.

But even then, it wasn’t enough. It quickly turned into him groping your body and jerking himself off. He knew it was wrong—knew that no father should ever cross this line. But the darkness inside him was relentless, twisting his thoughts until this felt like the only path he could take, the only way he knew how to cope with what he refused to understand. It’s not like he was fucking you, so it was okay, right?

Tonight was no different. Like clockwork, he moved quietly down the hall, each step practiced and deliberate, until he reached your door. Slipping inside with the same calculated silence, though by now, he doubted there was any way his presence could alarm you—not after all the times he’d done this before. He even started to feel less guilty.

He was now stood by your bed, looking down at your peaceful form. And for a moment—he just stared at you like he used to, before things escalated to this extent. Eventually, he brought one of his much larger, calloused hands to rub against your breasts. He could feel himself becoming erect just from the feeling of your body, you really were beautiful.

He began to palm his large cock through his pants as his hand now slipped beneath your shirt, it was loose and made for easy-access. His blue eyes were still as bright as ever while he touched you in such an inappropriate way, a way that was completely unacceptable. The thought of it made him harder.

It didn’t take long for Curly to take his cock out of his pants and fully begin to stroke himself. He just couldn’t help it when it came to you. You were the only person that could make him do something like this—something so insane that no one else would understand. (Except maybe Jimmy.)

Curly bit his lip as his hand further explored your body, the body he created. His hand tightened around his dick, pumping faster as he used his other hand to feel inside your underwear, rubbing at your pussy.

God, did he feel gross, but it made his dick leak copious amounts of precum. He was right on the edge, so lost in the moment that he never noticed when your breathing became more silent, or when you slowly blinked the sleep out of your eyes to look up at him. It was only when you opened your mouth that he noticed his secret assault on you wasn’t a secret anymore.

“Dad?”

[sluckythewizard]

'I wont cry for you, I wont crucify the things you do. I wont cry for you, see, when you're gone, I'll still be BLOODY MARY'

[ganondoodle]

(idk if anyone wants to keep hearing my opinions on totk book stuff but-)

apparently it says that rauru DID have kids, multiple even, which yeah... is kinda necessary for zelda to even be connected to them so much so that sonia can SENSE a blood connection (which, even with all the excuses with magic, is just a little too far for me to suspend my disbelief bc its over, OVER, ten thousand years worth of generations that seperate her from them that one lil touch of the hand can sense that (feels more like an attempt to make you care about them or .. see them as zeldas "better" parents just bc they exchange a few nice words, i never got the feeling they were 'better' parents and its also kinda disrespectful to her actual parents, like sure rhoam wasnt the best but i wouldnt call rauru better just bc he was polite)- i could see maybe the light power of hylia or sth but since its the coolest dude that ever lived rauru now that had it which still doesnt make sense and makes me unreasonably annoyed and she can sense BOTH of their powers in her? nah) the fact theres NOTHING about them in the game itself is just so ... no way they planned any of this

i dont think theres anything they can do or say that wont make be believe they either

are making it up alla 'fix it in post' mentality trying to hastily explain stuff the game never bothers to do to try and appease fans or let it appear as if they thought about it at all

something went really REALLY wrong during development, which kinda seems likely given how the game turned out (im sorry i cannot let go, its not just the writing, the game design too and how little was changed in the map while being so damn expensive, i dont know how people dont feel scammed q_q)

given that they (allegedly) spent the last entire year of development on polish (where??? where????? huh??? like it would make it more understandable (EXCEPT for the price) if there was alot of trouble, which was also bc it got delayed and ... turned out like this, but they dont want to say it, especially given their reputation, with that quote i have heard way too many times 'a delayed game blah blah') i just??

are they just gonna go and do it like they did with kashiwa (kass)? "they uuuh where flying around the whole time ony cool sonau tech maschines, you just dont see or hear from them ooooorrr they were uuuuh out of the country at the time" (sending invitations to other continents to join their glorious kingdom ;) )

(bet they are also gonna say they did all the stuff like ... moving the shrines around (lol?) and lifting the islands up into the sky- which is still weird bc ... didnt they also say they were living in the sky before coming to the surface?? so where?? did they park all their islands on the surface and the mystery kids had the keys so they had to repark them back into the sky after they returned off camera?? xD also why are the islands so different as an environment if they where from the surface? like even the STONE up there is different- and if they were first in the sky then on the surface and the nback in the sky .. why is there not a single yellow tree or grass in the past- you cant really argue that it changed bc they were up there so long bc .. nothing else changed, the suddendly and totally always there sonau buildings are largely in prime condition, only some slightly moldy, and what we see of the glorious past looks barely any different from the present, aside from like ... some standard trees shuffled, no castle yet and that glowy uwu filter DESPITE that stupidly long time frame between it)

[laitoslittlemacaron]

a few little room adjustments! 💖💚🌸 i love my desk a lot now, and the new little sakura Laito tapestry is soo cute!!😭💖 (look, my room is not fully Laito-only actually😔😔 this part at least... the wig is Shogun Raiden btw!)

also say hi to the chibi gang on my table<3 (no space left for them on my shrine lmaoo)

[hauntingofhouses]

i know I've mentioned my interpretation of mizu's gender a million times on here but i don't think i ever fully elaborated on it.

so on that note i just wanna ramble about that for a bit. basically, it's my reading of the show that mizu is nonbinary, so let me dig into that.

putting the rest under the cut because it ended up being pretty long lol. also here have a cute mizu pic of her being happy and most at ease with herself, symbolised by her letting her hair down. <3 ok let's proceed.

thus, when i refer to mizu as nonbinary, i am interpreting mizu as a woman, but not ONLY a woman. not strictly a woman. she is also a man. she is also neither of these things, she is something in between, while at the same time she is none of these at all. i've said as much many times, but i just don't want people to think that when i say nonbinary, it inherently means a "third androgynous gender" that essentially turns the gender binary into a gender trinary. not only is that going against what the term nonbinary was crafted for (to go against rigid boxes and categorisation of gender identities), but also, not all nonbinary people fall under that category or definition, and that's definitely not the way i interpret mizu.

okay before i go deeper i'd just like to address some important things. first of all, this post is an analysis of canon, and thus everything i am arguing for is about my own interpretation of the show, and not some baseless projected headcanon i am projecting onto the character. please remember there is a difference between an interpretation (subjective; interpretations will differ from viewer to viewer, but ultimately it is firmly rooted in evidence taken from the source material) VS a headcanon (unrelated and often even contrary to what is presented in canon; opinions wildly differ and they cannot be argued for because there is no canonical evidence to back it up).

ALSO please note that nonbinary is an umbrella term. this means that it applies to a vast range of gender identities. other identities that fall under the nonbinary umbrella include agender, bigender, genderfluid, and so on. however, it's my personal preference to use the term nonbinary as it is, simply because i'm not a fan of microlabels (more power to you if you do like them and find they suit you more though!).

also, before anyone fights me on this, let me clarify further that gender means something different to everyone. it's not your biological sex or physical characteristics. but at the same time, gender is not mere presentation. you can be a trans woman and still present masculine—either because you're closeted and forced to, or because you just want to—and either way, that doesn't take away from your identity as a woman. same goes for trans men. if you're a trans man but you wear skirts and don't bind or don't get top surgery, that doesn't make you any less of a man. because gender non-conformity exists, and does not only apply to cis people! some lesbians are nonbinary and prefer using he/him pronouns while dressing masculinely, but that doesn't mean they're a man, or that they're any less of a lesbian. neither does this mean that they're a cis woman.

the thing about queer identities in general is that, like i said, they mean something different to everyone, because how you identify—regardless of your biological attributes and fashion or pronouns—is an extremely personal experience. so a nonbinary person and a gnc cis woman's experiences might have plenty of overlap, but what distinguishes between the two is up to the individual. there's no set requirements to distinguish you as one or the other, but it's up to you to decide what you identify as, based on what you feel. either way, by simply identifying yourself as anything under the LGBTQ+ umbrella, you are already communicating to the world that you are not what a conservative, cisheteronormative society wants you to be.

which is why i find all this queer infighting on labels to be so ridiculous. because we're all fighting the same fight; the common enemy is a societal structure that divides us into set roles and expectations purely based on our biological parts. that's why biological essentialism in the queer community is a fucking disease. because by arguing that women are inherently weak and fragile and soft and gentle and must be protected from evil ugly men, while men are inherently strong and angry and violent and exploitative of women, these people are advocating for the same fucked up system that marginalises and abuses women as well as effeminate and/or gay men.

anyway. i'm going on a tangent. this was meant to be a blue eye samurai post. so yeah back to that— the point i'm trying to make is that there's no singular way to identify as anything, as everyone's views on gender, especially their own, is specific and personal to the individual.

so with that being said, yes you can definitely interpret mizu as a gnc cis woman and that's a totally valid reading of the text. however, interpreting her as nonbinary or transmasc also doesn't take away from her experiences with misogyny and female oppression, because nonbinary and transmasc folks also experience these things.

me, personally, i view her as nonbinary but not necessarily or not always transmasc because i still believe femininity and womanhood is a very inherent part of who mizu is. for example, from what we've seen, she does not like binding. it does not give her gender euphoria, but is instead very uncomfortable for her both physically and mentally, and represents her suppressing her true self. which is why when she "invites the whole" of herself, she stands completely bare in front of the fire, breasts unbound and hair untied. when she is on the ship heading to a new land in the ending scene, she is no longer hiding her neck and the lack of an adam's apple. we can thus infer that mizu does not have body dysmorphia. she is, in fact, comfortable in her body, and relies on it extremely, because her body is a weapon. instead, what mizu hates about herself is her face—her blue eyes. she hates herself for her hybridised racial identity, hates herself for being a racial Other. hates that she has no home in her homeland. thus it is important to note that these are not queer or feminist themes, but postcolonial ones.*

* and as a tiny aside on this subject, i really do wish more of the fandom discussion would talk about this more. it's just such an essential part to reading her character. like someone who's read homi k bhabha's location of culture and has watched this show, PLEASE talk to me so we can ramble all about how the show is all about home and alienation from community. please. okay anyway—

nevertheless, queer and feminist themes (which are not mutually exclusive by the way!) are still prevalent in her story, though they are not the main issue that she is struggling with. but she does struggle with it to some extent, and we see this especially during her marriage with mikio, where we see her struggle in women's domestic spaces.

on the other hand, though, she finds no trouble or discomfort in being a man or being around other men—even naked ones—and does not seem stifled by living as one, does not seem all that bothered or uncomfortable navigating through men's spaces. contrast this to something like disney's mulan (1998), where we do see mulan struggle in navigating through men's spaces, as she feels uncomfortable being around so many men, always feeling like she doesn't belong and that she's inherently different from them. mizu has no such experiences like this, as her very personality and approach to life is what can be categorised as typically "masculine". she is straightforward and blunt. her first meeting with mikio, she tells him straight to his face that he's old while frowning and raising a brow at him. she approaches problems with her muscles and fists (or swords), rather than with her words or mind. compare this with mulan, who, while well-trained by the end of the movie, still uses her sharp wits rather than brute strength. this is a typically "feminine" approach. it's also the approach akemi relies on throughout the show—through her intelligence and persuasive tongue, she navigates the brothel with ease. mizu, in contrast to someone like mulan and akemi, struggles with womanhood and femininity, and feels detached from it.

thus, in my opinion, mizu is not simply a man, nor is she simply a woman. she is both. man and woman. masculine and feminine. she has to accept both, rather than suppress one or the other. her name means water. fluid.

as a side note, while i do believe mizu is nonbinary, i also primarily use she/her pronouns for her, but this is a personal preference. i find it's easier to use in fanfic (singular they is confusing to write stories with, but again, that's just my feelings on it, and this is coming from someone who uses they/they pronouns). i also lean towards she/her because it's what the creators and all the official promotional copywriting of the show uses. and even though i am a "death to the author" enjoyer, i feel that when interpreting things that are left open-ended, it does help to look at the creators' take on things. also because, in general, being nonbinary simply doesn't necessitate the use of they/them pronouns. nonbinary is not just a third gender. it's about breaking the binary, in any which way, and that's exactly what mizu does, constantly.

also, i'd also like to mention that one of show's head of story even referred to her with the term "nonbinary", rather than simply "androgynous" (see pic below). and it's possible this could be a slip up on his part, in which he believes the terms are interchangeable (they're not btw), but regardless i find it a very interesting word choice, and one that supports my argument.

so anyway yeah that's my incredibly long rambling post.

TL;DR nonbinary mizu rights 👍🏻👍🏻👍🏻 congrats if you reached the end of this btw. also ily. unless you're a TERF in which case fuck off. ok i'm done.

[greensaplinggrace]

dutch really was so completely and utterly blinded by his own ego. anybody with the decades of experience he has as a conman - and an intellectual and pseudo philosopher no less - should know that the first thing to look out for in any situation is something or someone agreeing with you so wholly that it erodes all sense or wariness.

[a-passing-storm]

Hm... I do not have a good perspective on this, because I've only read an itty bitty bit of The Iliad and I am now about halfway through The Odyssey, but I think that Odysseus is a much more sympathetic character than Achilles.

[wingsoverlagos]

The Evolving Story of Kim Bennett, Pt. 1: Before Lewisohn

0. Mark Lewisohn’s Star Witness 1. An Introduction and Primer 2. The Evolving Story of Kim Bennett, Pt. 1: Before Lewisohn >You Are Here< 3. The Classic™ Contract Story, and Why Lewisohn Distrusts It 4. The Evolving Story of Kim Bennett, Pt. 2: Tune In 5. Lewisohn’s Other Sources 6. Lewisohn’s Portrayal of Kim Bennett & George Martin

After two posts and as many months of build-up, it’s finally time to look at Kim Bennett’s presence in Beatles history before Mark Lewisohn’s Tune In. As a refresher, Kim Bennett was a music plugger involved in a brief chapter of the Beatles' story, who Lewisohn draws on as a crucial witness to ~debunk the myth~ of how the Beatles’ first landed their recording contract with Parlophone. I’ve previously shown an example of Kim Bennett’s presence in Beatledom here, in an issue of Beatles Book Monthly, just a few pages before the name of a young Mark Lewisohn. I’ve also discussed some of the ways Lewisohn slants a story when he’s set on overturning a classic narrative – you can find that here.

Section 1: Mark Lewisohn on Kim Bennett

Part of the appeal of Mark Lewisohn’s Beatles-signing scoop is Kim Bennett’s oft-stated absence from the Beatles narrative. Lewisohn found and memorialized a man who had been marginalized from the Beatles’ story, a hero integral to their success who was erased from history due to his inconvenience to the legacy of a certain acclaimed producer. Not only has Lewisohn turned a classic narrative upside down, he’s righted the wrong done to Kim Bennett by the powers that be--or so he would have us believe. The importance of Bennett’s testimony and his exclusivity to Tune In is a crucial element of Lewisohn’s myth-building around himself and his work. Let’s take a look at a few examples:

In a 2014 interview with Dierdre Kelly, Lewisohn calls his revised version of the Beatles’ recording contract “probably one of the biggest things in the book.” As for how he came to that version of events, Lewisohn says, “It all fell into place when I met a man called Kim Bennett…without whose incredibly tenacious efforts—and he was never named in any book—we would never have heard of the Beatles. He literally was the story’s hero and he tells us a very different story.” [Emphasis mine]

From Allan Kozinn’s 2013 interview with Lewisohn, we get the following exchange:

Kozinn describes Bennett as “someone who had never been interviewed,” and Lewisohn not only doesn’t correct him, he furthers that idea by saying Bennett “had been trying for years to get people to listen to his story…and nobody wanted to know.”

As a final example, we’ll return to the episode of Nothing Is Real (season 7, ep. 7) that I excerpted in my first post on Bennett.

A partial transcript [emphasis mine]:

“I approached him, and he was so happy that I got in touch with him because he knew the true story of how the Beatles came to be signed to EMI and he knew that it was his efforts that had made the difference, and without him, it wouldn’t have happened. The Beatles possibly may never have happened without Kim Bennett, and he’d been trying to tell people for years, and people didn’t want to know.”

“He was a very frustrated man because no one had ever paid him the attention that he felt was his due.”

“…and if I hadn’t of got to him when we did, we wouldn’t know him, and we would always have that bizarre gap of how they got signed by someone who never met them.”

Again and again, Lewisohn tells us that Kim Bennett had been trying desperately for years to gain recognition for his action, and everyone ignored him--everyone but Mark Lewisohn. This is decidedly untrue. He has been mentioned in multiple Beatles publications by major names in Beatles history, which you can find in Section 3. But first!

Section 2: Biographical & Background Info

Here he is, the man of the hour, Kim Bennett - and I bet you thought that was the Barry Sisters! On the left, we see Kim Bennett's floating head from his days as a singer, and on the right, we see him fraternizing with Russ Conway circa 1967 - Bennett is in profile on the right. I've dug up some biographical information on the enigmatic Kim Bennett, and I wanted to share it here along with a little context about music publishing to make the accounts shared in the next section make mroe sense. If you're confident in your early-1960s music industry knowledge and know who Kim Bennett and Sid Colman are, scroll right along to Section 3.

I've cited Lewisohn a few times in this section when other sources weren't available. Every time I cite him, I put a quarter in the "Risky Citations" jar - once I've filled it a few hundred times, I'll take it to CoinStar and use the money to buy a copy of Fifty Years Adrift.

The Parlophone Contract Story is a story with many bit parts, most of whom won't appear until my next post--there will even be a figure! I'll assume you know the Beatles, Brian Epstein, and George Martin, the man who would become the Beatles' main producer. In the parlance of the times, George Martin was the A&R man (artistes and repertoire) of EMI's Parlophone label. As the A&R man at Parlophone, George M. has the head of the label, with duties including scouting artists, matching his stable of artists with songs, and overseeing the recording process.

Alongside record labels like Parlophone, Columbia, and HMV, EMI had other companies under its corporate umbrella. One of these companies was the music publisher, Ardmore & Beechwood (A&B).

Music publishers manage song copyrights; they make money by marketing and disseminating those songs. In the early 20th century, the big moneymaker for music publishers was sheet music sales. By the 1950s and 60s a sea change was in progress as record sales grew and eventually eclipsed the sale of sheet music. Just as the medium through which songs were sold changed, so did the way in which music publishers sold those songs: originally, song pluggers from publishing companies would pitch their songs to orchestras, brass bands, and dance halls, seeking out groups who performed live music, so that their audiences would go out and buy sheet music of the songs they’d heard (Southall & Perry 2006, p.ix-xii). With the rise of records, song pluggers would pitch their songs directly to A&R men; they would visit the A&R men in their office and sing the songs they had on offer, accompanying themselves on the piano while they did (Martin & Hornsby 1979, p.48). They could then market those records to sell their songs. If a song was recorded by multiple artists, as was often the case, the song publisher benefited regardless of which version of a song played. This set their interests slightly apart from record producers, who only benefited if their version of a song sold.

Let's illustrate with a Lennon-McCartney original: the music publisher for Lennon-McCartney's music, Northern Songs, would profit from both the Rolling Stones version of 'I Wanna Be Your Man' and the Beatles version, but the record companies would only benefit from the version they released - the Stones version meant money in Decca's pocket, while the Beatles version benefited EMI.

(I'm sure their are some additional business/contract complexities that come into play, but I believe the general principle is correct)

EMI Music Publishing would one day be a Big Fucking Deal, but when the Beatles joined in 1962, it didn't exist yet. Publishing was a minor interest for the company, and they had only a small publishing presence in the form of A&B, which opened in 1958 (Martland 1997, p.262). A&B was set up to handle the publishing interests of  two American companies, Ardmore Music Corp. and Beechwood Music Corp., both of which were owned by Capitol Records (Cash Box 1958 Jul 26, p.34). Capitol Records had been purchased by EMI in 1955 (Southall 2009, p.25), and A&B was set up a few years later to handle their catalogue in the U.K., while also providing and option to publish through EMI for any interested songwriters. This was done at the behest of EMI Chairman Sir Joseph Lockwood (Southall 2006, p.9-10).

From its genesis, veteran music publisher Sid Colman (1905-65) served as general manager of Ardmore & Beechwood (Cash Box 1958 Jul 26, p.34). He would serve in this role until his untimely death in April 1965 (Cash Box 1965 Apr 24, p.47). You will encounter multiple spellings of his name, but Lewisohn assures us that Sid Colman (rather than Syd Coleman) is correct (2013, p.856). Kim Bennett served as his assistant and music plugger.

Born Thomas Whippey (1931-2004) (Lewisohn 2013), he became a Decca recording artist in 1954 under the name Kim Bennett. He recorded six singles, none of which charted. I haven’t found any of his work online, but for an idea of the type of music he released, here are other versions of two songs he put out: ‘Softly, Softly’ by Ruby Murray and ‘The Kentuckian Song’ by Eddy Arnold. He maintained a day job as an office worker until 1955, then briefly worked as a musician full time. He worked a season at Butlin’s (not the same location as Ringo), played some clubs, and toured with the Ambrose orchestra, but his career as a singer had petered out by late 1956. As Don Wicks puts it “[h]e was a victim of the growing rock and roll industry no longer interested in a soft pleasant vocal style.” (Wicks 1996 pt.1)

He resumed work at a toy warehouse, (Wicks 1996 pt.1) but later took a job in music publishing with B. Feldman & Co. Ltd. (Cash Box 1967 Jul 22 p.65). He began work with Ardmore & Beechwood no sooner than August 1958. He was still with Ardmore & Beechwood as of June 1965 (Cash Box 1965 Jun 5 p.55). By July 1967, he had moved to South Africa, where he ran a newly launched publishing company, Francis Day (S.A.) (Pty), which was established to manage copyrights of B. Feldman & Co. Ltd., Francis Day & Hunter, and Robbins (Cash Box 1967 Jul 22 p.65).

According to Lewisohn, Bennett spent his later years in Shropshire in “quite humble circumstances (Nothing Is Real, Season 7 Ep. 7, 29:30). He was interviewed by Lewisohn on July 27-28, 2003 (Lewisohn 2013 p.869). He died in 2004.

While biographical information on Bennett between 1967 and 2003 is slim (perhaps nonexistent), his role in the Beatles story received several mentions in print in those intervening decades.

Section 3: Kim Bennett in Beatles History

As I highlighted in my first post in this series, Kim Bennett was quoted in Beatles Book Monthly Issue 70, but that isn't his earliest appearance in the Beatles lore - he first appears in an earlier issue of BBM, issue 13, published in Augst 1964, p.22-3. He's mentioned by BBC DJ Ted King in relation to his work plugging 'Love Me Do'.

To summarize: Kim Bennett went to lunch with Ted King and pitched “Love Me Do” to him. King wasn’t fond of the record, but Bennett’s enthusiasm convinced King to play it on “Twelve O’Clock Spin.”

Our next Bennett sighting (and the first to use Bennett as a source) is the aforementioned BBM Issue 70, p.8, published May 1969.

This is part of a piece titled “When did you Switch On?” whose author is unattributed. Whoever they are spoke to Kim Bennett directly. Here’s what we can gather from this piece:

Kim Bennett was Sid Colman’s assistant

Colman “had quite a job to persuade George Martin to see the Beatles”

Bennett, presumably, was in the room when Colman “first heard the Beatles’ tapes”, since Bennett is able to relate what Sid Colman said on the matter

Colman decided to call Martin because he did not have a similar-sounding pop group, while the other EMI A&R men did

Bennett next crops up in several of Bill Harry's books, starting in 1982. Bill Harry is the founder of Mersey Beat and was an art school chum of John and Stu's; he's written a number of reference books about the Beatles, including The Beatles Encyclopedia, The John Lennon Encyclopedia, and The Book of Beatle Lists, among many others. Four of his books mention Bennett. The information in these books seems to be pulled from the two BBM articles highlighted above - with the possible exception of the last one. The books where Bennett is mentioned include:

The Beatles Who’s Who (1982): An encyclopedia of Beatle people. Bennett does not get his own entry, but he is mentioned in the entry on Sid Colman (p.84). Bennett is said to be Colman’s assistant, and his involvement in “Love Me Do” promotions is noted without detail.

The Ultimate Beatles Encyclopedia (1992): Bennett now gets his own entry (p.84-5). Again, this appears to draw from the Beatles Book articles. More detail is included here than in The Beatles Who’s Who. Bennett is mentioned again in Sid Colman’s entry (p.168). There’s a reference to Colman and Bennett liking the demos for “Love of the Loved” and “Hello Little Girl”, which is not mentioned in BBM above. However, these songs were referenced in relation to Sid Colman in The Beatles Who’s Who, so I think Bennett is just lumped in with Colman here.

Also in the Colman entry, Harry points out two conflicting accounts of the promotion of “Love Me Do.” George Martin wrote in his memoir that Ardmore & Beechwood did “virtually nothing” to promote the song, but Ted King, in BBM Issue 13, said it was Kim Bennett who got him to play the song on “Twelve O’Clock Spin.” This apparent contradiction will be discussed in detail when we deal with Tune In’s version of events, but for now, I’ll say this: it can be true that Kim Bennett did his best to promote 'Love Me Do' and acheived limited success while still falling short of the expectations of George Martin (and, crucially, Brian Epstein).

The Encyclopedia of Beatles People (1997): Bennett has a brief entry (p.45) and is mentioned in Sid Colman’s entry (p.92-93.) The Sid Colman entry includes this quote from Sir Joseph Lockwood about the Beatles’ publishing rights “I don’t blame Sid Coleman [sic], because he published the first two songs without a contract. He wasn’t getting any support from either the record producers or the solicitors.” This quote appears in Ray Coleman’s The Man Who Made The Beatles (1989), seemingly from an interview conducted by Coleman while researching that book.

The Ultimate Beatles Encyclopedia (Revised & Updated, 2001): The entry for Kim Bennett includes the entirety of the entry in the 1992 version with an additional two paragraphs (p.135-6). These paragraphs are emotionally charged and add information not available in the two articles from BBM. After detailing Bennett's involvement in 'Love Me Do' promo, Bill Harry writes,

“It’s ironic that the two people who were so enthusiastic about the Beatles and helped to get them with EMI in the first place were to have George Martin shut the door in their face by suggesting to Brian Epstein that he see Dick James about being their publisher. For one thing, it was Coleman [sic] who, after talking to Brian realized that the only A&R man at EMI who hadn’t rejected the Beatles was George Martin. Apparently, Coleman had a hard job persuading Martin to see Epstein. Even then, Martin wasn’t initially impressed by their sound. He only agreed to a test session at EMI’s No. 3 studio four weeks later, then another three months elapsed before the release of their first single. EMI and Martin weren’t even confident enough to give the Beatles a plug rating. Artists such as Cliff Richard received an ‘A’ plug on EMI’s Radio Luxembourg shows. The lowest was ‘B2’. The Beatles weren’t even given this low plug, EMI gave ‘Love Me Do’ a nil rating. “So Bennett had a hard job pushing the record without EMI using their clout. As a result, Epstein refused Ardmore & Beechwood the future Beatles publishing. Had he done so, the Beatles might have retained the rights to their own songs, and Coleman might have received some acknowledgment for having placed the Beatles into his hands in the first place.”

It’s hard to say whether or not additional information from Kim Bennett made it into this article. Much of this could be pulled from other sources and presented through a negative lens stemming from Dick James’ involvement in the Northern Songs debacle. There are, however, two elements here that are consistent with Bennett’s later accounts that might suggest that he spoke with Bill Harry: (1) the phrasing that George Martin “shut the door” in the face of A&B, rather than Brian Epstein actively seeking out a different publisher and going to George for advice, and (2) the blame placed on George Martin for the Beatles low plug rating. Both new elements, and both inconsistent with certain other versions of events.

In Philip Norman's revised Shout! (2003), there is unambiguous evidence of Kim Bennett's participation.

In the original 1981 release, Sid Colman and A&B are mentioned, but not Bennett; in the revised edition, not only is Kim Bennett present, but the information surrounding him is clearly more than the familiar, regurgitated tale found in Beatles Book Monthly.

Norman doesn’t give citations, so I can’t say conclusively how he got this new information. There may be an interview with Kim Bennett published somewhere that I haven’t come across, though I’m inclined to believe either Norman or one of his research assistants spoke to Kim Bennett directly. The phrase “According to Bennett” appears a few times in Shout! (2003), which reads as if the information is coming directly from the horse’s mouth, so to speak.

Since the revised edition was published in the same year as Lewisohn’s interview with Kim Bennett, I considered that Lewisohn might have shared his information with Norman, and Norman may have rushed an edit. I looked for the exact publication date for the revised edition of Shout!—it was weirdly hard to find—and that put to bed any ideas of Norman cribbing off of Lewisohn’s notes: Pan Macmillan Australia gives the release date as January 9, 2003, several months before Lewisohn interviewed Bennett.

The Contract Story, as presented in the revised Shout! starts in the usual way: Brian gets an acetate made from the Beatles’ demo tape, the technician likes it and puts Brian in touch with Sid Colman, who works for A&B upstairs. Colman is interested in publishing the original Lennon-McCartney numbers. Then Kim Bennett enters the picture (Norman 2003, p.164-5):

Bennett likes the disc, too, and suggests they record the Beatles independently in the for-hire studio below their Oxford Street office. Colman takes Bennett’s idea to Len Wood, managing director at EMI, but it goes against protocol, and Wood won’t allow it. Only then does Colman put Brian in touch with George Martin. Colman and Brian have a “gentlemen’s agreement” that A&B will get the Lennon-McCartney publishing rights if they get a contract with George M.

It’s a short passage, but there are already a few problems here. First, the timeline doesn’t make sense. Most early accounts have Brian’s meeting with George M. occurring the day after Sid Colman hears the tapes (see A Cellarful of Noise, The Beatles (1968), and All You Need Is Ears). The largest gap is given by Lewisohn’s Chronicle (p.53-55), in which Epstein is said to have met Colman “around February 8” (a Thursday), with the Epstein-Martin meeting occurring on Tuesday, February 13. The Epstein-Martin meeting date seems to be pulled from George Martin’s date book (he has a meeting with a “Bernard Epstein” on that date), but I’m unsure what brought Lewisohn to the February 8 conclusion. Based on other information in the Chronicle, my best guess is either a meeting between Colman and Martin on February 9th, or a letter sent to Decca by Epstein on February 10th stating he had secured a recording contract. Whether or not he had met with Colman, Epstein certainly hadn’t secured a recording contract on that date – it was purely bluster, a kiss-off to Decca.

Regardless, even if Epstein met Colman on February 8th rather than February 12th, that’s a narrow window of time for Bennett’s story to occur. Rather than trying to place the group with an A&R man at EMI, Colman does nothing until his assistant suggests they record the Beatles themselves. This is unorthodox. A large part of the job of music publishers, as I’ve said above, is to pitch songs to A&R men to get them recorded. In this case, they’d be pitching a group along with the songs, but it seems strange that they wouldn’t try to work their contacts at all before making the jump to DIY. Still, let’s assume that happens. Colman takes the idea to Len Wood. Len Wood’s office at the time was probably at EMI House in Manchester Square, which isn’t far from A&B’s Oxford Street location, so assuming Len Wood had an open schedule, and Colman felt a high enough degree of urgency to immediately take Bennett’s idea to the managing director, I suppose it’s possible that Colman took Bennett’s idea to Wood, was immediately shut down, and then called Epstein back in to set up a meeting with George Martin if we assume Epstein’s first meeting with Colman happened on the 8th rather than the 11th. Still, it seems odd to me that these events wouldn’t turn up in Epstein’s account – getting shut down by the managing director of EMI Records is sort of a big deal, and would add to the drama of the everyone-rejected-them-but-George-Martin-story.

The other big issue here is that this version of events contradicts Bennett’s account from 1969. Rather than simply overhearing Colman’s conversation with Epstein and subsequent persuasion of George Martin, Bennett now has a more active, central role. He’s not driving the story, but he now gives a version of events in which he’s one of the Beatles’ earliest champions. I don’t think it’s unfair to consider that Bennett’s increased involvement in the story might indicate an interest in being more than a footnote in Beatles’ history.

Bennett is mentioned again during the promotions of ‘Love Me Do’ (p.182-3):

Bennett secures some airtime on Two-Way Family Favourites by “repeatedly nagging a radio producer friend.” This is not the same radio show mentioned in Beatles Book Monthly Issue 13 (above), but it’s in keeping with Bennett’s role as a plugger—and that’s where Bennett’s involvement ends in Shout! (2003). There’s one more tantalizing mention of Brian’s “gentlemen’s agreement” with Colman, which he breaks due to his dissatisfaction with A&B, turning to George Martin for publishing advice.

There you have it: Kim Bennett’s evolving story pre-Tune In. It starts as a bit of extra detail that fits inside the greater framework of the Beatles’ Contract Saga, and, after thirty years, morphs into something that contradicts Bennett’s earlier version and the many other accounts of the same events. Things will get even stickier once we get to Tune In. But first...

Section 4: Why Does It Matter?

I can think of three explanations for why Lewisohn pitched Bennett as an unheard witness when he had, in fact, gone on the record before, and none of these explanations helps the credibility of the story.

Explanation 1: Neither Lewisohn nor Bennett knew about Bennett’s previous statements on the matter. This would be extremely damning for Bennett’s reliability, as it would mean he had forgotten both his 1960s statement to Beatles Book Monthly (plausible) as well as the interview that led to the information included in Shout! (concerning). This scenario also requires Lewisohn to be unaware of the above Bennett appearances, which doesn’t reflect well on his abilities as a researcher. If you find someone who you think has never been on record, you might want to at least look him up in the glossary of books by major Beatle authors.

Explanation 2: Bennett knew; Lewisohn didn’t. Perhaps Kim Bennett either neglected to inform Lewisohn of his past interviews, or outright lied to him on the matter. Lewisohn says that Bennett is “known for a dogged persistency” (Lewisohn 2013, p.571), has said that Bennett “just picks something up and he will not let it go,” (Let It Roll 2020, ~25:50), that he is “very insistent about things” and by the time Lewisohn interviewed him, “was a very frustrated man because no one had ever paid him the attention that he felt was his due.” (Nothing Is Real S7Ep7) Could this tenacity and feeling of entitlement to a part of the Beatles’ legacy have led Bennett to present himself as a bigger scoop than he really was? Might he have sold Lewisohn a tale of exclusivity and, perhaps, a version of the Contract Story more salacious and headline-grabbing than the truth?

Again, this explanation also hinges on the idea that Lewisohn was in the dark about Bennett’s prior interview(s), which is a huge oversight, but not as damning as explanation 3.

Explanation 3: Lewisohn knew and lied. Whether Bennett told Lewisohn outright that he had been interviewed in the past or if Lewisohn came upon that information in his research, Lewisohn chose to portray his interview with Bennett as exclusive. Perhaps this was purely to make his “scoop” seem juicier. Perhaps he was reluctant to give Philip Norman credit for finding Bennett first – there seems to be no love lost between Lewisohn and his former employer. Or perhaps Lewisohn knew that Bennett’s prior accounts made the story told in Tune In less credible. The early anecdote related in BBM already conflicted with the revised version in Shout! – if Bennett’s account, as related in Tune In, presented further inconsistencies, it would undermine Lewisohn’s major finding.

I’ll close with a segment from one of the better Lewisohn interviews I’ve heard. It’s from Ken Michaels’ radio show ‘Every Little Thing’, conducted in ~2013, and it’s one of the rare instances where an interviewer gives Lewisohn any pushback or asks follow-up questions regarding some of his more explosive claims. It’s an uncomfortable listen – Ken Michaels even appeared in the comments of this YouTube channel to counter claims that he has beef with Lewisohn– but satisfying to hear some meaningful questions when so many people are content to simply deify Lewisohn. Here's the relevant exchange:

KM: Aren’t there also problems with certain people that you’ve interviewed that have played some part in Beatle history that want to really elevate their status?

ML: Oh yeah, oh yeah, and it’s up to authors to ensure that they don’t get what they want. And there are unfortunately too many authors who just very happily take the stuff they’re given without challenging it. You’ve got to challenge all these things. And unless something completely fits into the framework of the story, you can’t use it.

Next time, on Days of Our Lies: the Classic Version of the Contract Story, and why Mark Lewisohn is so intent on debunking it. After that, we’ll finally look at the Contract Story as portrayed in Tune In.

Sources:

Cockcroft S, Carty J. 2023 Feb 14 [conducted 2023 Jan]. Nothing Is Real – Season 7 Episode 7 – Mark Lewisohn Returns [podcast, season 7, episode 7]. Nothing Is Real. 1:17:15. Available from: https://open.spotify.com/episode/5mtbNIreAY0Car6VASuZGV?si=b1e322e001a347e3

Coleman R. 1989. The Man Who Made the Beatles: An Intimate Biography of Brian Epstein. New York (NY): McGraw-Hill Publishing Company. 400p. Accessed online 2024 Mar 19. Available from: https://archive.org/details/manwhomadebeatle00cole/mode/2up

Kelly D. 2014 Jul 30. Setting the Record Straight: Interview with Beatles biographer Mark Lewisohn. Critics at Large. Accessed 2024 Mar 4. Available online: https://www.criticsatlarge.ca/2014/07/setting-record-straight-interview-with.html

Kozinn A. 2013 Dec 27. Tune In, and Turn On the Reading Light. ArtsBeat: New York Times Blog [accessed 2024 Feb 6]. Available from: https://archive.nytimes.com/artsbeat.blogs.nytimes.com/2013/12/27/tune-in-and-turn-on-the-reading-light/?_r=0

Lewisohn M. 1992. The Complete Beatles Chronicle. New York(NY): Barnes & Noble Books. 365p. Accessed online 2024 Mar 14. Available from: https://archive.org/details/completebeatlesc0000lewi/mode/2up

Lewisohn M. 2013. 1st U.S. Edition. The Beatles: All These Years Vol. 1: Tune In. New York (NY): Crown Archetype. 932p.

Lichtman I [editor]. 1965 Apr 24. Great Britain. Cash Box XXVI(40); International Section p.45. Accessed online 2024 Mar 18. Available from: https://archive.org/details/cashbox26unse_31/page/44/mode/2up

Lichtman I [editor]. 1965 Jun 5. Great Britain. Cash Box Vol.XXVI(46); International Section p.55. Accessed online 2024 Mar 13. Available from: https://archive.org/details/cashbox26unse_37/mode/2up

Lichtman I [editor]. 1965 Jul 24. Great Britain. Cash Box Vol. XXVI(53); International Section p.53. Accessed online 2024 Mar 13. Available from: https://archive.org/details/cashbox27unse/mode/2up

Lichtman I [editor]. 1967 Jul 22. Overlooking South Africa. Cash Box Vol.XXVIII(52); International Section p.65. Accessed online 2024 Mar 13. Available from: https://archive.org/details/cashbox28unse_50/mode/2up

Martin G, Hornsby J. 1979. All You Need is Ears. New York (NY): St. Martin’s Griffin. 293p.

Martland P. 1997. Since Records Began: EMI: The first 100 years. London: B.T. Batsford Ltd. 359p. Accessed online 2024 Mar 17. Available from: https://archive.org/details/sincerecordsbega0000mart/mode/2up

Michaels K. 2013. Mark Lewisohn interview [radio broadcast episode]. The Beatles – Every Little Thing. Originally aired on XM Radio. 1:53:18. Available from: https://www.youtube.com/watch?v=CjAUtngSoKc

Parnes S [editor]. 1958 Jul 26. Ardmore & Beechwood Open London Office. Cash Box Vol. XIX(45); p.34. Accessed online 2024 Mar 18. Available from: https://archive.org/details/cashbox19unse_43/page/34/mode/2up

Southall B, Perry R. 2006. Northern Songs: The True Story of The Beatles Song Publishing Empire. London: Omnibus Press. 218p. Accessed online 2024 Mar 13. Available from: https://archive.org/details/northernsongstru0000sout/mode/2up

*Wicks D. 1998. Updated 2012. The Ballad Years: From the Bombs to the Beatles: a Directory and Discography of British Popular Music-makers from 1945-1960. Accessed online 2024 Mar. Available from: https://archive.org/details/theballadyears/Book%20Contents/

Wilcox N. 2020 Apr 27. How The Beatles Got Signed [podcast, season 7]. Let It Roll. 57:21. Available from: https://dcs.megaphone.fm/PAN2878353172.mp3?key=5204cb23c38410bae94e208461239e2d&request_event_id=e800ecea-9c5e-40f2-90e3-dad820306501

Images from The Ballad Years and Cash Box 1967 Jul 22

*The Ballad Years by Don Wicks was originally published circa 1998 (by a company called In Tune International, of all things!) There is some great contextual info included at the Internet Archive link; to condense it here, after the original print run of the book, Don Wick continued to update the book, primarily to reflect the death of artists. He distributed these via Microsoft Word Document, and the 2012 version of these documents was uploaded to the Internet Archive. I believe that is the reason for “The Barry Sisters” being plastered across Kim Bennett’s face – the pages including artists’ pictures have very wonky formatting.

[ask-the-invincible-crew]

Snitches get stitches, Burt.

[stressedjuice]

Reading chapter 12 of king of scars like

Simultaneously

[pergaminaa]

omg hold on i just realized something!!!

the Blackbeak Matron is the ONLY one who knew about Manon's bloodline, like-- Manon is an actual fucking queen by birthright and the Matron is the only person who knew it because Manon never learned about this.

so remember when Asterin was telling Manon what happened to her with her hunter and witchling? The Matron warned Vesta and Sorrel not to bring it up to Manon or there will be dire consequences.

Now hear me out: Manon fucking loves Asterin. If she knew what her grandmother had done, she would have probably done something like take the Thirteen and just leave or something like that.

We all know how the Matron loved threatening Manon that she'd replace her, but while it worked on Manon, her grandmother never really intended to do that.

It's the same reason why she wanted Vesta and Sorrel to remain quiet: she has a literal fucking queen at her beck and call. Manon is ready to do anything for her grandmother just to get some praise, and the Matron isn't going to let go of that. It's why she needed Manon loyal to her (through fear because Manon didn't really trust her but she fears what she'd do)

So at the end of the day, the Matron was after more power. She kept Manon by her side through unorthodox tactics because she loved having so much control over her. And also because of Manon's royal blood, she can have so much.

I think it's also why she wasn't fully against Erawan showing interest in Manon. Because with that union, she will reign supreme.

It's just-- the way she played Manon for her whole life for no other reason than being a shitty person is what irks me the most. She literally used everything that is Manon and twisted it, turning it into something ugly.

I'm sorry but when Manon just killed Rhiannon without even questioning it? Just blindly obeying her grandmother because it's what she's been conditioned to do???

Later on, we see Manon really struggling between doing what is right and doing exactly what her grandmother wants even when she doesn't agree with it. Every time, her grandmother wins (until the part where she was about to execute Asterin) and I honestly think that the Matron was happy with how she has the actual Queen of Witches under her command.