#ce: 19th century

[ao3-anonymous]

Fastest Growing Fandoms on AO3 This Week (03/25/2024)

Every week I pull data on how many fics are in each fandom and compare to the previous week, then calculate the percentage increase to determine fastest growing fandoms.  Since this naturally skews towards smaller fandoms, I have included the same data filtered to Over 1k, 5k, & 10k fics.

Overall:

Over 1,000 Fics:

Over 5,000 Fics:

Over 10,000 Fics:

Source: AO3 Fandom Dashboard

[finelythreadedsky]

got asked what my favorite century is as a joke but now i'm going to be thinking about this for a while. i don't think it's the fifth century bce actually.

[lindahall]

Andrew Carnegie – Scientist of the Day

Andrew Carnegie, a Scottish-American industrialist, died Aug. 11, 1919, at age 83.  

read more...

[saviourkingslut]

not to be about opera again but to be about opera again. as an art form it has the reputation of being super stuffy and something for snobs who don't know how to have fun only but honestly this was one of, perhaps even THE main theatrical entertainment for centuries. i wish people knew how hard these things can go and how engaging they can be. like characters kill and die and fight wars and (almost) commit human sacrifice left and right. characters fall in love they mourn they're ecstatic they cry they're furious it's an extremely dramatic and emotional art form! and i understand that opera does not appear approachable bc of the general conventions of the art form but i promise old works can be fun and engaging if you go watch them with some preparation beforehand (reading the libretto helps) - not to mention not all operas are old bc there are so many modern operas which engage with topical events! also the music slaps.

[elizabethskipp]

CE 1897: Footage of Jerusalem

[thatshowthingstarted]

Horse Handle Lapis Lazuli Dagger khanjar,

Persian, 19th Century CE.

The Al-Sabah Collection, Kuwait

[yaseraphine]

Why I don't really like the 12th house. / observations

How I perceive the 12th house, my real life observations on it and why I don’t really like it 

TW : mention of anx!ety, d€pressi0n, self-und0ing attempt, mental he@lth issu€s, pan!c att@cks

(Sorry in advance for the constant cens0r!ng, I don't want to run the risk of getting shadowbanned like it almost happened before)

In december and january of 2023/2024 I was having 12th house transits (Mars then Venus). This is what I wrote on my notes app about the negative experience I had :

I am currently having 12th house transits at the time (Mars then Venus) and I've been so much sleepier and prone to irrational, unexplainable stress. Like I wake up and I am still tired bruhh I hate it as a Mars Dom I usually instantly and really easily wake up in the morning so it's frustrating because I feel less productive and sloppier and daydreamy but in a bad way. 

Why I don't really like the 12th house...

I genuinely don't understand the "hype" (if we can even use that word) around the 12th house. When I first got into astrology, I saw so many posts about it saying how magical it was, how special it is to have placements in this house, how it means that you have a higher purpose than others, how you are so sensitive, an empath...And I have to say, yes, of course, some of it is true. However, it is clearly a more romantisized description of the 12th house. This idea of a romantisized version of the house was then overtime validated by the fact that every single person that I've met with 12th house placements/stelliums were far from living this almost fantasy like description. In fact, these positive traits seem to be rarely easily expressed for people who haven't studied astrolgy to get to know themselves better and understand their purpose. The people that I know with these placements were mostly d€pressed, too nice, had anx!ety attacks, insomn!as , and sleepless nights. It is honestly such a lonely house. Having these placements in the capitalistic utilitarist world we live in is sadly more of a curse than a blessing...

People I know with 12th house stelliums/ placements

• One of my friends has a 12th house stellium, her Sun in Taurus, Moon in Gemini and Mercury in Aries being there (the sign of the house is aries). She also has an Aries North node in the 12th house.

She always felt overstimulated and often told me that sometimes she didn't know if what she was thinking was really her own thoughts or other people's. She also had this obsession, or more so obsessive fear, with the idea of having to/ being forced to "sacrif!ce herself" for other people, for a job, for school,.. We often discussed this fear of hers and she would tell me this "why do people think we necesseraly have to suffer in life ? Why is struggle and suffering so normalised ? I don't want to sacrifice myself to achieve something, i don't want to purposefully inflect myself pain to live ? This is so weird to think that suffering is inevitable if you want to survive or live. That it's a normal part of life and that we should all be agreeing with it"

She is really empathetic and sweet but sometimes becomes all of a sudden defensive and passive-aggressive. She is also often anx!ous and as a result doesn't eat or sleep correctly.

Another one of my high school friends, less close, has a 12th house stellium in Aries (Sun, Moon, Mercury and Venus). He also has a North node in Aries in the 12th house.

Because I am/was not really as close with him as i am with the previous friend, i can moslty only share my impressions and assumptions from the interactions i had with him. I think it's interesting to say that his energy really stood out to me. He had sleepy eyes and a melancolic aura that reminded me of 19th century poets. If you know about Arthur Rimbaud, there's this one picture where he seems to look away. He basically looked like he was permanently captured by an old antique camera. His energy felt like what sepia looks like if that makes sense. He also had green or blue eyes (i don't exactly remember) that emphasazied the impression that he was mourning for something permanently. They were wondering, pensive almost sorrowful.

He was really gentle with people. His friends often said he was like a teddy bear, despite being almost 2meters tall. It's interesting to point out too that he was a gym bro. I think he would go to the gym probably 6 times a week sometimes, yet was so nice and calm. He wasn't acting like a cringy alpha male, which is pretty surprising for a cis heterosexual gym bro man with an Aries Sun, stellium and North node.

I think part of it is the 12th house influence that toned down this energy a bit, and instead of being selfish like a regualr aries, he was more selfless. He was always respectful towards women and never shamed people. However, he had a lot of insecurities and felt kind of helpless regarding fixing certain problems in his life. He was sometimes a bit too passive, and wasn't too comfortable when met with conflicting energies or situations that required decisive reactions.

My sister has Lilith in the 12th house and her subconscious thought processes can become easily extremely s€lf destructive. She was diagnosed with severe depr€ssion and had to go to the mental h0spital once after doing a self-vndo!ng attempt. When her symptoms were still intense and she was still struggling a lot, she had to go to see a psychiatr!st and a therap!st on a weekly basis. It was a scary and crazy time. Until this day, she still has terrible sleeping patterns, many ins0mn!as, and often has pan!c att@cks. I distinctively remember one time it was so intense I thought she really was going to pass aw@y. She also used to have (and still a little) a huge victim complex, where she felt like she was condamned and doomed to live a miserable life, and that she is deeply misunderstood.

What drove me to come on here is a new student that I have met in college this year. We instantly clicked then she told me she was an Aquarius with an Aquarius rising and a Sagittarius moon. 3 of her personal planets fall in the 12th house, which means that, just like the two friends I have mentioned, she has a stellium. She then went on to explain to me how she was diagnosed with an anx!ety dis0rd€r. She said that she used to have, at some point, three pretty intense panic attacks on a daily basis. She told me that when she saw a therap!st for an appointment, the th€rap!st was shocked and said that it was probably one of the worst cases she has ever dealt with (update 21/10/24 : she actually didn't say that it was one of the worst cases of her career, she was just genuinely shocked at how my friend was able to survive living like this for such a long time).

This made me realize that there is definitely a theme with the 12th house surrounding chaotic sleeping patterns, restlessness, overthinking, numbness, emptiness, hightened anx!ety, melancolic tendancies, s€lf-sacrif¡ce and depr€ssi0n.

All of that to say that this house is somehow terrifying to me. I get the fascination for it. I just find it too eerie in a way. My chart, despite being a Sagittarius rising, is filled with fixed and cardinal signs. Pluto is prominent in my chart as it is thigtly conjunct my ascendant, so I don't behave and move through life like a stereotypical Sagittarius rising. On top of that, I have an 8th house stellium in Leo... I need to have control over things and situations, my ego is strong (i am working on it lol) and it is hard for me to surrender.

Therefore, the hyper mutable energy of the 12th house, its uncertainty and blurriness, gives me "anx!ety" and unsettles me. I never know what a 12th houser really thinks and neither do they themselves in a way. My fixed *ss finds that so stress inducing. I like when things are made direct and clear, but nothing about this house is direct nor clear.

[whencyclopedia]

The Nimrud Ivories: Their Discovery & History

In 1845 CE, the archaeologist Austen Henry Layard began excavations at the ruins of the city of Nimrud in the region which is northern Iraq in the present day. Layard's expedition was part of a larger movement at the time to uncover ancient sites in Mesopotamia, which would corroborate stories found in the Bible, specifically in books in the Old Testament such as Genesis and Jonah. The archaeologists who excavated the sites throughout Mesopotamia in the mid-19th century CE were seeking physical evidence to support accounts of the Great Flood, the Tower of Babel, and cities such as Nineveh and Calah, among other biblical references. Their work, ironically, would have the complete opposite effect of what was intended: they discovered a civilization that existed long before the first biblical books were written, one which had, in fact, produced the first stories concerning a global flood and an ark, and which was far more advanced than had previously been thought. These discoveries would revolutionize human understanding of world history which, previously, had been heavily influenced by the Bible's version of events. Prior to these expeditions, little was known about Mesopotamian history outside of the Assyrians and Babylonians because they were the people best documented by the Greek historians and mentioned in the Bible. The great Mesopotamian cities of the past lay buried under the sands after the fall of the Assyrian Empire in 612 BCE, and their histories lay buried with them.

History of the City and Discovery of the Ivories

When Layard began his work at Nimrud, he did not even know which city he was excavating. He believed he had discovered Nineveh and, in fact, published his best-selling book on the excavation, Nineveh and its Remains, in 1849 CE, still confident in that belief. His book was so popular, and the artifacts he uncovered so intriguing, that further expeditions to the region were quickly funded. Further work in the region established that the ruins Layard had uncovered were not those of Nineveh but of another city, which was then referred to as Nimrud. The archaeologist William K. Loftus took over from Layard in 1854 CE and excavated Nimrud further discovering, among other treasures, the magnificent works of art known today as the Nimrud Ivories (also as the Loftus Ivories). Nimrud was an important city in ancient Mesopotamia known as Kalhu (also Caleh, Calah), which became the capital of the Assyrian Empire under Ashurnasirpal II (reigned 884-859 BCE), who moved the central government there from the traditional capital of Ashur.

The city existed as an important trade center from at least the 1st millennium BCE. It was located directly on a prosperous route just north of Ashur and south of Nineveh. The Assyrian Empire was ruled from Kalhu from 879-706 BCE, when Sargon II (reigned 722-705 BCE) moved the capital to his new city of Dur-Sharrukin (Khorsabad). Following the death of Sargon II, his son Sennacherib (reigned 705-681 BCE) abandoned Dur-Sharrukin and moved the capital to Nineveh. Kalhu continued to be an important city to the Assyrians, however, and the palaces and residences were richly adorned and ornamented with gold, silver, precious gems, and the intricate works of art that have come to be known as the Nimrud Ivories.

Continue reading...

[ao3-anonymous]

Fastest Growing Fandoms on AO3 This Week (03/27/2024)

Every week I pull data on how many fics are in each fandom and compare to the previous week, then calculate the percentage increase to determine fastest growing fandoms.  Since this naturally skews towards smaller fandoms, I have included the same data filtered to Over 1k, 5k, & 10k fics.

Overall:

Over 1,000 Fics:

Over 5,000 Fics:

Over 10,000 Fics:

Source: AO3 Fandom Dashboard

[coolseabird]

The Arthurian vibes are dripping off the Star Wars prequels. I've talked @dandyvampling's ear off at length about it but seriously. It's just "What if Lancelot and Mordred were the same person?" and it goes hard.

Even without mentioning things like the code, the round table, and being called knights; the narrative arc of both are very similar.

Ford, H.J. "Lancelot Brings Guinevere to Arthur." Illustration from the 1902 CE Book of Romance.

The forbidden love between a knight and a queen.

Giancola, Donato. Lancelot and Guinevere. 2004.

The "best knight" is ultimately the one responsible for the fall of their society by murdering their fellow knights to save the one they should never have been in love with to begin with.

Hatherell, William. The Rescue of Queen Guenevere by Sir Lancelot. Illustration from King Arthur.

Said knight also fails to be the chosen one due to their flaws, but their child steps in and fulfills that role instead.

Watts, George Frederic. Sir Galahad.

It all ends in a climactic battle between an elder figure who tried their best to uphold their ideals and an ambitious younger figure who had been done wrong by the system but who ultimately ends up tearing everything they desired down.

Hatherell, William. The Battle Between King Arthur and Sir Mordred. 19th century.

Was this just an excuse to post lovely art alongside propaganda to make you read Arthuriana? Perhaps.

[chanaleah]

Timeline Of Efforts To Re-Establish A Sovereign Jewish Homeland In The Land Of Israel

credit to rootsmetals

written description under the cut

Infographic vertically detailing efforts to re-establish a sovereign jewish homeland in the land of israel, and which jewish communities initiated said efforts.

539 BCE - Effort initiated by Babylonian Jews

167-160 BCE - Effort initiated by Jews in the Land Of Israel

66-73 CE - Effort initiated by Jews in the Land Of Israel

351-352 CE - Effort initiated by Jews in the Land Of Israel

556, 572 CE - Effort initiated by Jews and Samaritans in the Land Of Israel

614-617 CE - Effort initiated by Persian Jews, joined by Jews in the Land Of Israel

9th, 10th Century CE - Effort initiated by Karaite Jews

1210 CE - Effort initiated by Ashkenazi Jews

16th Century CE - Effort initiated by Sephardi Jews

18th & 19th Centuries - Effort initiated by Ashkenazi Jews

Modern Political Zionism - Effort initiated by Ashkenazi Jews; joined by Jews from around the world

[enchanting-chit-chat]

Beetlejuice's Backstory and the Black Plague 💚🕷️🥀💀 PART 3

Good evening! As promised, here’s Part 3 of my series on Beetlejuice’s past and movieverse. Today, we dive deeper into historical fashion, analyzing the outfits of Beetlejuice and Delores to uncover their personal stories.

If you missed the earlier parts, check out PART 1 and PART 2.

Warning: This post contains SPOILERS for ‘Beetlejuice Beetlejuice’ (2024)... and many, MANY speculations.

Quick recap: In Part 1, we discussed the Plague. In Part 2, we delved into Beetlejuice’s past, questioning the claim that he died over 600 years ago.

I wondered: is that really true? Why does his clothing reflect the Baroque style, then?

That's right! In Part 3, I confirm my previous point: there are several clues suggesting that Beetlejuice most likely lived during the Baroque era - a cultural movement that began in Rome at the end of the 16th century and faded around 1750. Here is the list of the clues I noticed:

The lace neckband around BJ's neck.

His three-piece wedding suit.

Delores off-the-shoulder neckline and puffed sleeves.

The bird masks used by Delores and the undertakers.

AliveBeetlejuice first outfit (when he's stealing from corpses): specifically, the pirate shirt and the type of shoes.

Keep in mind that most of these elements were revolutionary novelties of the 16th-17th century. Here is proof for every. single. one of them.

The Lace Cravat

A behind the scenes still of Michael Keaton in 'Beetlejuice Beetlejuice' vs. the portrait of Jacob de Witte, Lord of Haamstede (Netherlands). The artwork was made by Jan Mijtens in 1660.

The first cravat, the predecessor of modern neckties and bow ties, originated in France during Louis XIV’s reign as a political and fashion statement. (Although the early idea comes from the Ancient Roman focale, used around 200 CE). The King was inspired by a particularly eye-catching necktie wore by Croatian mercenaries as part of their uniform. The new article of clothing quickly became a fashion staple for high-ranking men across Europe.

In its use, it represented the evolution of the common handkerchief, already popular in the 1500s as a practical tool, a flirty decoration, and a status symbol. I believe the variant Beetlejuice is wearing in the picture is called ‘jabot,’ and is one of the older, simpler versions.

Lace, often used in cravats, highlighted the wearer’s wealth. Italian lace, especially from Venice, was highly sought after by the European elite since the 15th century, when ruffs and collars were in vogue.

This detail suggests two possibilities:

Beetlejuice might have been an impoverished aristocrat (or a rich merchant) clinging to his title until the end. This could also explain the ring on his index finger, symbolizing power or family ties. Or both.

Alternatively, he may have been someone who strongly wished to be part of the elite.

Jacket and Breeches

Aristocratic fashion, 1630 (Victoria & Albert collection) vs. What Beetlejuice wore in the wedding scene.

Another standout innovation of the Baroque period was the introduction of the three-piece men’s suit, known as the ‘Habit à la française.’

This ensemble included a tailcoat (a calf-length jacket), a coat (a long waistcoat), and knee-length breeches. Like the cravat, this fashion was adopted across Europe. As you can see, Beetlejuice is perfectly embodying this fashion, which evolved and remained popular until the 19th century. Interestingly, one shoe is missing.

Pirate Shirt

Originating in the 16th-17th century, the ‘poet shirt’ or ‘poet blouse’ remained popular through the Romantic era. These multi-purpose shirts served as both underwear and nightwear, featuring long tails that reached mid-thigh or knee. The body and sleeves were gathered at the collar and cuffs, creating a full, loose fit.

Delores' Outfit

For comparison, I’ve included an illustration of noblewomen’s fashion at the court of Louis XIII (died 1643). His successor, Louis XIV, made France a cultural and fashion beacon for the next two centuries.

In the movie, Delores wears two nearly identical outfits: long dresses with puffed sleeves ending just below the elbow, a corset, and an off-the-shoulder neckline. This style aligns with 17th-century trends when fashion became more comfortable and relaxed.

The black color suits her character’s personality and role in the film, possibly hinting at a connection to the late Renaissance and the Spanish Court.

In fact, during the reign of Charles V (1500-1558) and his son Philip II (1527-1598), Spanish aristocracy particularly favored the black color, as it represented austerity and power for both men and women. Additionally, a deep shade of black was particularly difficult to achieve with the dyeing methods of the time, making those fabrics quite expensive to make.

However, The Spanish style was quite the opposite to what France later proposed: it consisted in a severe and somber luxury, which increased in opulence as the time passed. As Spain happened to be the beacon of fashion before Louis XIV came along, it's only natural that black rapidly became quite popular all around Europe as well. The color was particularly appreciated by the members of the middle class in Protestant nations and, apparently, in Italy as well.

Finally, keep in mind that 'Delores' is a variant of the more common 'Dolores'. Both names have Spanish origins and means 'sorrows'.

So what do we think? Was Beetlejuice from a rich family? Was Delores a Spanish witch?

Who knows! But I’m willing to dream and speculate!

Until the big reveal from Tim Burton himself in the now teased but not confirmed yet sequel, have a fantastic week!✨

[vermilionsun]

Ais: Viking Era (about 800–1050 CE)

Description: The Viking culture emphasizes strength, independence, exploration, and a strong warrior culture. Ais' fierce and determined personality aligns well with the Viking ethos of bravery and combat prowess. The Viking Age's focus on personal valor and leadership in battle mirrors Ais' character strengths.

Leander: Victorian England (19th Century)

Description: The Victorian era is characterized by its distinct social norms, elaborate fashion, and a fascination with the occult and the supernatural. Leander's elegant and refined demeanor, combined with his darker, more mysterious undertones, align well with the Victorian fascination with both high society and the macabre.

Mhin: Edo Period Japan (17th Century)

Description: The Edo period in Japan is marked by its isolationist policies, the rise of the samurai, and a flourishing of traditional arts and culture. Mhin’s austere, reserved, and introspective nature fits well within the context of a samurai or an artisan during this period, reflecting the values of honor, precision, and a deep connection to family and traditions.

Kuras: Renaissance Italy (15th Century)

Description: The Renaissance era marks a period of great intellectual, artistic, and cultural growth. Kuras, with his intellectual depth, curiosity, and healing abilities, mirrors the Renaissance man – a scholar, a healer, and a seeker of knowledge and beauty.

Vere: Baroque Era (1600-1750)

Description: The Baroque era is characterized by its dramatic, detailed, and grandiose art and architecture. Vere’s flamboyant and theatrical personality, combined with his enigmatic and seductive nature, aligns well with the baroque emphasis on drama, emotion, and intricate details.

Bonus: Main Character (MC): Medieval Europe (12th Century)

Description: The Medieval era is known for its knights, castles, and chivalric codes, as well as a deep-rooted connection to mythology and folklore. It was a time when many individuals embarked on pilgrimages or traveled in search of remedies. This fits the MC’s background of seeking a solution regarding their curse. The era’s deep religious undertones align well with themes of faith and redemption, healing, and personal growth, honor-driven quests, meeting with different cultures, religions, and social classes.

[k-i-l-l-e-r-b-e-e-6-9]

Horse Handle Lapis Lazuli Dagger khanjar, Persian, 19th Century CE. The Al-Sabah Collection, Kuwait. [640 x 809]

[elizabethskipp]

CE 1945: Footage of Palestine

March of Time — outtakes — Mosque; Arabs in Palestine, accessed at United States Holocaust Memorial Museum, courtesy of National Archives & Records Administration (https://collections.ushmm.org/search/catalog/irn1001122) Events shown Road junction with Syrian and Transjordanian borders. Buses, signpost “Jerusalem Trans Jordan South” and “Frontier Syria”. 06:32:45 Desert, cows, sea. People on…

[lyon-77]

Erlang Shen — Unpacking the Complex Layers of a Timeless God Pt. 1

Erlang is unique in Chinese mythology as an ancient god who remains vibrant and active in the 21st century. Unlike other ancient folk gods, whose vitality has long been lost, or newer heroes like Sun Wukong, emerged in the early modern period and resonate strongly with contemporary audiences, Erlang Shen's enduring presence in cultural life is a rare exception to the general trend. Writing about the origin of Erlang Shen is challenging because of his complexities. I hope I do justice to his cultural significance while keeping it engaging and accessible.

Originally a regional chief god and hero-god, Erlang’s influence expanded and peaked during the Song (960 to 1279 CE) and Yuan (1271-1368 CE) dynasties. During the Ming dynasty (1368-1644 CE), as popular folklore and dramas became formalized in influential works like JTTW and Investiture of the Gods, Erlang appeared alongside new heroes, who were often written to match or challenge the abilities of established deities like Erlang, both as a tribute and to lend legitimacy to the fresh characters. This dynamic placed Erlang as a benchmark against which rising figures were measured. During the Qing dynasty (1644-1912 CE), Erlang’s influence had stagnated, prompting unconscious efforts to revive key motifs in his lore. His legendary mountain-splitting feat was reimagined to center around a different character Chenxiang. Over time, Chenxiang's tale was attached to Erlang's mythos, with Chenxiang portrayed as his nephew. This revision introduced inconsistencies that distorted Erlang’s character, transforming him from a heroic young lord into an cold-hearted oppressor. Such a drastic re-telling was only possible during a period of decline in Erlang’s worship, and it further contributed to a more negative interpretation of Erlang. A god truly dies when no one remembers their name. By the 19th and 20th centuries, Erlang’s lore was on the brink of ossification and his original character nearly submerged to history. 

However, Erlang has survived, in part because many of his stories were preserved in written and oral traditions. Those enduring records prompted contemporary audiences to rediscover him and trace back his origin and development, revealing a complex, inspiring character ought not be forgotten.

In New Gods: Yang Jian

Certainly, Erlang carries far more “baggage” than new heroes. His mythos, shaped by layers of history and storytelling, can be confusing and at times contradictory. A prominent example is again the story of Chenxiang, which many argue doesn’t align with Erlang’s established character. As such, many people reject Chenxiang’s story as part of Erlang’s canon, while others try to reconcile the inconsistency by introducing new storylines that re-establish Erlang as a misunderstood hero. Both the TV series Lotus Lantern (2005) and the animated film New Gods: Yang Jiang (2022) took this latter approach, whereas the film Creation of The God: Kingdom of Storms (2023) and Black Myth: Wukong (2024) followed the traditional narrative, with no mention of any siblings (let alone nephew).

In Creation of The God: Kingdom of Storms

The deeper and more insidious “baggage” in Erlang Shen’s lore, however, lies in its historical and cultural nuances. Erlang’s image is shaped by multiethnic folk mythology, Daoist canonization, and political canonization. Venerated by the Han, Baima (historically Di), Amdo Tibetan, Tu (Monguor), and other ethnic groups in and north of the Shu region (modern-day Sichuan), Erlang embodies the rich cross-cultural exchanges that occurred in southwest China. His character also reflects the historical tension and balance between the borderland and the central government, echoing contemporary debates about whether Erlang is the people's god or a dutiful servant of the celestial court. Beneath all these, there’s another layer of tension between humanity’s awe of natural forces and its desire to tame nature. 

For me, Erlang Shen is fascinating precisely because of these “baggages.” His complexities make him susceptible to misunderstanding but also offer rich potential for new interpretations, as seen in modern adaptations including Black Myth: Wukong. For those interested in history and culture, Erlang’s layered mythos provides a lens through which we can connect with the past while gaining fresh insights into the present.

In future posts, I will unpack each of those nuanced tensions with you.