#chosen jacobs icon

[favorite-characters]

𝕀𝕋

Chosen Jacobs as ᴍɪᴋᴇ ʜᴀɴʟᴏɴ (dir. Andy Muschietti • 2017)

[blacksea-bitch]

[physalian]

7 Misused Tropes (And How to Improve Them)

Tropes in isolation aren’t inherently bad, but a lot of them are prone to poor execution. Each one of these probably could have a whole post by themselves. A few of these used to be good but have since fallen by the wayside as their original meaning has been lost.

7. Dramatic Miscommunication

You know the ones. I think it’s worse when the story is otherwise good, the writers just could not come up with a better way to get X alone or send Y off on the necessary side quest than the lowest of low hanging fruit.

Two essential ingredients for fixing this trope: Precedent and consequences

Precedent–have the character doing the missassuming already be prone to jumping to conclusions, already suspicious or insecure, or misled by a third party so this looks inevitable, instead of pulled out of your ass.

Consequences–usually these are big blow up fights that fizzle out without any impact on the plot once they fulfill their purpose, but if it’s a nasty enough fight, characters shouldn’t just forgive and forget. While they might not completely ruin relationships, it should have characters taking a step back and either second guessing where they stand, or using this blowup to fix an underlying issue in said relationship.

6. Love Triangles

Good Love Triangle for the first 3 seasons: Elena/Stefan/Damon (TVD).

Bad Love Triangle for the entire series: Bella/Edward/Jacob (Twilight).

The difference between them (besides time to flesh out both candidates) is that both brothers brought valid pros and cons to Elena’s life, both got the chance to be with her, and Elena’s whole arc wasn’t solely focused on the agonizing choice of which brother she should pick. Regardless of which camp you’re in, Stefan brought stability, that classic cliché high school romance, mostly all good vibes. He never challenged her or talked down to her or got aggressive with her. Damon did the opposite, for better or for worse, and we know which direction the show went.

On the other hand, Jacob never for one second stood a chance with Bella and the narrative wasn’t kidding anyone. They never so much as went on one date (unless you count the motorcycle ride) and it seemed like Bella was only letting him hang on for pity’s sake. Theoretically he brought pros to the table that Edward couldn’t (like, idk, being alive), but the narrative never explored what could be done with him. He just ended up being the Nice Guy friend who then decided it’d be hot to lust after an infant.

5. Agency-less Chosen Ones

These tend to be wish fulfillment characters that bring nothing to the story and have no discernible skills, yet are constantly in the middle of the action, have all the love interests fawning over them, and are Important and Critical to saving the world… because the narrative said so. They don’t make a single choice the entire plot except to move forward or stagnate, chosen by the gods or a prophecy or fate and destiny.

The problem: These characters walk with the crutch of “I’m the chosen one thus I don’t need a reason to exist in the story” and that’s just not a satisfying narrative shortcut. So? Give them agency. Even if they’re chosen by some ancient prophecy, you still have to convince the reader why the Universe wasn’t just talking out of its ass.

Good example: Emmet from Lego Movie literally says he’s useless and has no skills and cannot think outside the Lego box. He’s supposed to be as generic as painfully possible and when he does have creative ideas, they’re supposed to be asinine and stupid. And yet. He might be physically dragged around by the other characters, but he has plenty of choices, plenty of opposition to what’s happening, plenty to say about the state of his world, and his ideas do matter and his intimate knowledge of the instructions and playing by the rules is how they win.

4. Bad Boy Love Interests

These guys were supposed to be counter-culture icons, standing up to The Man for the little guy because he knows the system is broken and rigged. He’s an affront to the stereotypical nuclear lifestyle, he resents a robotic and soulless office job and wants to create art or music or in some way benefit his world and isn’t going to play nice just to get his way. He exists in contrast to the nuclear female protagonist: Conservative, demure, rule-following caged bird who falls in love with him because he shows her that life isn’t meant to be lived in The Man’s cage. He respects the authority that deserves respect, the teachers who actually give a shit, the janitors, the librarians, but probably not the principal or the police or the local politicians, because he knows they don’t respect him and respect is a two-way street. He’s probably a mama’s boy or at the very least loves his parents (if they’re alive) and while he might engage in a little property damage like graffiti, it’s for a good cause.

This dude is NOT SUPPOSED TO BE: Abusive, controlling, aggressive, or condescending to his love interest. He’s not supposed to be an overprotective stalker or plagued by insecure jealousy over any other man in his love interest’s life. He’s not rude to his friends or arrogant about his own smarts and doesn’t think he knows best about every little thing in the world. He’s not sexist or racist just to make himself feel better and he doesn’t pressure his love interest into sex because she owes him or whatever.

Ahem.

Please bring back classic bad boys. That is all.

3. Major Character Death (for shock value)

I remember the implosion of the Walking Dead fandom after they killed Carl, one of the very few characters who was supposed to make it to the end, for… various sketchy reasons and I could never figure out what was true. Some theorized that his actor was aging out of the ‘child actor’ payscale and they didn’t want to pay him as an adult and while I have no proof, it wouldn’t surprise me at all.

Carl died after getting bit in just one of those hectic moments where he got unlucky, while doing something noble and stupid. In isolation, it fits the nature of the “anyone can die” show but man did it just come across in poor taste.

Obviously “for shock value” shouldn’t be the reason you do anything in your story but there is still a way to pull it off without it causing a riot: Make sure they get killed in a non-contrived way. If you plan on killing off one of your heroes suddenly, either make it bitterly ironic, or make it a situation that this character would absolutely get themselves into. The more it “fits” the less likely audiences will see the hand of the author coming in just to break the character’s fictional contract.

2. The Power Inside You All Along

This trope is usually disappointing because it tends to melt a character’s whole arc down into something pointless—this whole adventure was apparently useless if they didn’t actually need to grow or change or challenge their conceptions of the world. They could have got up off the couch as joe shmoe and beat the villain day one.

While that’s probably not what their creator intends, ‘it was inside you all along *wink*’ tends to feel that way, as it discourages internal conflict. Usually, their creator is likely trying to convey the message that one need not change, that it’s what’s inside them already that makes them special.

I present to you once again Kung Fu Panda’s “there is no secret ingredient” i.e. “the power inside you”. The difference is. Po still has plenty of internal conflict: his own self-confidence. He begins the movie eager but inexperienced and a bit oblivious, fanboying it up around his heroes. He and Shifu both insult his weight and his lacking kung fu skills, and his arc is learning self-confidence, learning how to use his weight and the body he has to fight in a way that the villain isn’t prepared for, to where Po can shit-talk him to his face during the final fight.

Most failures of this trope don’t bother exercising their protagonist. They’re pissy and resistant for the entire story and only win when the narrative agrees they were right all along. Therefore, no change, no conflict, no resolution.

1. Strong Female Characters

So many of these read like "slapped boops on a male character". They don’t work for many reasons (usually being very preachy with their agendas), but they especially don’t work when by trying to be pro-feminist, they’re still reinforcing masculine standards. A lot of people, when Captain Marvel came out, said “you didn’t have any issues with Tony Stark being an asshole but now you do when he’s a woman” which. No.

Tony was an asshole, but being an asshole was the whole point of his character, and he got humbled right quick by getting blown up and held hostage. “Proof that Tony Stark Has a Heart” and all that.

Carol was an asshole with nothing to substantiate it, and never got a reality check. She had amnesia so we didn’t get insight into who she was before to understand this transition into dickishness and was so OP, she wasn’t ever physically or emotionally challenged like Tony was.

But the other thing is this: Slapping boobs on a male character with a slew of toxic masculine traits also says that to be a successful woman, you must behave like a man. It swings so far from the femme fatale sexy leg lamp that it comes around and eats its own tail. These characters are just mean and insecure and build themselves up by tearing down the men around them.

So. Calhoun from Wreck it Ralph is this exact trope done extremely well. She’s aggressive, arrogant, loud, rude, and cynical. For about 10% of her arc. The movie immediately throws her into a situation where her strengths are basically useless—she’s stuck in Candy Land and has to rely on someone who is the antithesis of her game and character to make it out. The movie also shows you why she’s cynical via her tragic backstory.

Not only that, she’s more than just a heap of toxic masculinity in a pixie cut. She laughs, she cries, she admits when she’s wrong, she has a soft side, a gentle side, a caring side, and remains a badass through and through.

Or, once again rolling out Tigress from Kung Fu Panda: Proud, aggressive, the snubbed chosen one, cynical, mean, and overconfident in her abilities. Tigress nearly gets her entire team killed in her arrogance. She’s allowed to be wrong, very wrong. She also has her soft moments and, like Calhoun, has a very valid reason for being jaded, and is still shown to be capable of softness and nurturing during the evacuation.

Third example to hammer home that I don’t hate badass women: Andromache. Jaded, overconfident, short-tempered, aggressive, and a little mean-spirited. Tragic explanatory backstory? Check. She is also caring and loyal to her team, allowed to get emotional, allowed to be wrong and fail and lose, and kind of the surrogate mom of the team, who can also laugh and joke around and have light-hearted moments.

Whether the character is a man or a woman, being an arrogant asshole who takes zero accountability and refuses to admit when they’re wrong and never loses, audiences aren’t going to like them.

[bradshawed]

“Save a horse, ride a cowboy.”

summary — Bradley Nicholas Bradshaw certainly has something someone to be thankful for this Thanksgiving.

warnings/tags — mild swearing, some suggestive content, female reader, use of she/her, Bradley missing his parents, switching between 2nd and 3rd person but you get both povs? Bradley being absolutely speechless and momma Seresin being an icon but that isn’t really warning.

note — wanted to write something for a while and I had this idea in my drafts and figured why not. I haven’t written for tg:m before so I hope I did them justice and you guys like it enough to read some more.

word count — 1.2k words

Texas hadn’t exactly been a planned trip but here they all were at the Seresin ranch in Austin, Texas.

You could say that it had been the Daggers’ fault for unintentionally parading in on one of Jake’s phone calls to his mum but they’d all claim that it was a combination of Jake bragging about his home town and Bradley retelling his sob story to Jake’s mother, who she insisted he call her by her first name, and then invited them all to the Seresin ranch for Thanksgiving.

They’d managed to get a couple days leave and decided to forgo the 15 hour drive down and take a flight there instead, choosing to get there in one piece with as few arguments as possible than the ones they would’ve had if they’d chosen to go with the road trip option.

When they’d arrived at the airport, Jake’s oldest sister and her husband picked them up in two cars and drove them down to the ranch. Bradley could easily see why Jake had been right to brag about his home, not that he would ever tell him, but it really did feel like home.

The Dagger squad talked for hours that night, finding themselves huddled together on the front porch, staring at the stars. It had been a beautiful night, filled with laughter and mischief, but also with something warm and comforting that made Bradley’s heart ache.

He’d been unusually quiet that night but the group knew better than to push it, Jake included with a threat from his mother, but it hadn’t been from what they’d expected. Jake’s mum had brought Bradley aside when they were all busy with the rest of the family and had a talk with him, one filled with a motherly love that accepted him into the family and promises that he could come by anytime or call her up whenever he’d like. The comforting hug after, as she reached up to wipe his tears, made him smile as he whispered up to the stars later that night, a thank you to his mum and dad.

The next day had been filled with the typical Seresin chaos that you’d expect with a single mother, three daughters, their partners and children, and the one and only, Jacob Thomas Seresin. Plus the Dagger Squad. Then someone mentioned line dancing and Jake’s elusive childhood best friend (Javy was extremely offended) and they’d subsequently made plans that night to visit the local bar that Jake promised they’d all love.

Never, and Bradley means never, let Hangman choose your outfit. That boy is picky as hell and a force to be reckoned with once he’s connected to his Southern routes. Shame that Bradley’s much more stubborn or you would’ve seen him decked out in a similar outfit to Jake’s right down to the bolo tie.

“Jacob Thomas Seresin!” Heads turned towards the woman walking towards them, an empty serving tray in one hand, the other resting on her hip as she looked up at the blonde raising an eyebrow. “You didn’t think to give me a heads up before you walked into my bar?” She leaned behind him to place the tray on the bar before resuming her stance, cracking a smile once Hangman did and wrapping him in a warm hug.

Introductions were made with Jake using your full name, which you hit him lightly on the arm for, Bradley practically speechless, almost drooling, since you first walked towards them.

He was cute, fucking gorgeous if you were being honest, and if he was the Bradley you’d heard so much about from Jake and his mother, then the idea that just sparked in your mind would be more than just a good idea. So, you took your Setson off your head and placed it on his with a wink.

Sadly, you still had a job to do, and with the blooming bar, you needed all hands on deck, so you walked off, not without a mischievous glint in your eye or an extra sway of your hips for the brunette in the floral Hawaiian shirt who had caught your eye. You turned around for a brief second to see Bradley transfixed and Jake shaking his head at you, as you gave your best friend a wink and sauntered off.

The Dagger squad, minus Bob and Javy, looked between Jake and the hat on Bradley’s head in confusion, the former shaking his head with a smile on his face. Jake wasn’t the least bit surprised, he knew you down to a T, just as you knew him. Bob and Javy on the other hand tried and failed to suppress their laughter, especially as Bob launched into an explanation at what it meant seeing as Jake was clearly too amused and entertained to do it himself.

Bradley, well… Bradley had short circuited to say the least. He could barely register the pats on his back or squad’s laughter under the weight of the cowboy hat on his head, your hat on his head. Fuck, he was whipped and he didn’t even know you. Not yet.

The crowd had begun to filter out the later it got, and by the time you got off your shift, the bar definitely wasn’t bursting at the seams anymore but still somehow just as lively. As you contemplated grabbing yourself a beer, you felt a presence behind you, causing you to turn around to see the cute brunette wearing your hat. His palm was placed gently, face up towards you as he asked you for a dance, not forgetting to add a ‘sweetheart’ at the end.

Bradley can dance, he knows that, the whole squad knows that, anyone who knows him knows that. But the way your body feels next to his has him forgetting the steps he learned just moments ago. Or at least, that was until you leaned up at starting singing along to the lyrics in his ear, gently guiding him along, something that he’d expected to cause him to stumble even more but surprisingly got him to relax. Bradley Bradshaw was putty in your hands and you knew it. You however, didn’t know that you’d be melting in his, not until he began singing back to you, his lips just grazing your ear. That’s when it turned into a little more than dancing, with a little less talking.

With you body pressed against his, his arms pulling you impossibly closer as you adjust your Stetson on his head, you whisper a question in his ear. Bradley placed a kiss to your collarbone and another beneath your ear before pulling away and grabbing your hand, leading you to the exit.

The squad burst into cheers as you both approached the door, the pair of you hazarding a glance back at the group and a wink towards Jake who raised his glass in acknowledgment with a smile on his face. He knew you were perfect for each other, not that he’d ever admit that, but he knew. For now, he refused to acknowledge what would happen when you both left the bar, nose crinkling at the reminder of the rule.

[nalyra-dreaming]

Hi! Love your blog :)

Do you think Louis being pimp will be brought up? Because I felt like it was forgotten by both the show and fandom. We had iconic confession scene done incredibly by Jacob where he acknowledges his faults against women, then he gets turned and proceeds to be a pimp.

I always felt like this and Louis at the present being billionaire in Dubai and both of these aspects being swept under rug in Louis' narration is extremely important thing that will be addressed in further seasons. Do you think Claudia knows that Louis was pimp? I can't imagine Louis sharing it with her on his own.

With her being aged up and being object of desire of no one but teens and perverts and of course being survivor of SA, her being orphan, Louis exploiting women sexually paints even more stark contrast.

Thank you for answers!

Hey!

Glad you like :)

I don't think that it's been forgotten, tbh (though it is not often brought up in fandom, granted).

But the show will surely come back to this before all is said and done. Dubai, built on slave labor and gold, is definitely not a coincidence as being chosen for the modern part of the show. And what Louis may wish to hide from Claudia (because I agree, he probably wished to keep that part of his past from her) could soon become a moot point when there will be a whole coven of vampires who can just read his mind.(*)

I'm not sure though if that past will be actually used against him next season, but it will still come up, of that I'm very sure. Because Armand's past will call back to this... and Claudia's SA will call back to Lestat's. And Louis still pays "whores" in Dubai... blood whores, to put it plainly. Daniel did call himself his whore as well, which is also no coincidence, and, given some events of the Devil's Minion arc might yet call back there, too. And who knows what "The Farm" actually is... We'll see.

(*) I agree that Claudia's fate shines a very painful light on Louis' previous occupation, but I feel like she probably knew about it. Like... New Orleans might be a big city, but Louis was an institution. For a while. He already told her that she came after his part of Storyville burning, and Claudia, being this clever and inquisitive girl that she was then, most surely went and investigated. We see later how she educates herself, chooses to learn languages, read up on things. There is no reason to suspect she didn't dig into finding out the truth about her parents, her guardians, too.

And I mean, given the later diary entries (that will still come to be) she grew to hate them both.

Given the changes the show made and that you refer to here - that can very well be a big part of it, too. Some of it bleeds through, imho, when she leaves in ep5, she throws it into Louis' face then, but that was before the assault. I bet the bitterness after was quite a different thing then.

Abuse - including sexual abuse - will be a continuous thing throughout the show.

In the books Lestat has been raped into darkness, Armand was sold as a sex slave. Both of these events have been already hinted at in season 1.

Louis being a pimp fits into that very well in a really uncomfortable way. I said it in another post, he still owned people, profited of them, and as @cbrownjc reminded me of, the show even gave him the background of actually being descendant of the plantation owners.

I absolutely believe that the show will hook into this aspect and the inherent abuse aspect for all characters.

Louis' might have been... let's say put aside for now, but I would pay real money that it has not been forgotten, because ultimately vampires maim and rape their prey, right? To death.

I think they will address this, again and again, over all the season. And it will be very uncomfortable and harrowing at times.

[2q5b]

VAYECHI

By Ezra

December 26th, 2023

I am a diaspora Jew. This is partly by accident and partly by choice. I was born in the U.S. My Jewish grandparents came to Boston from Poland and Germany after the Nazis made them into child refugees. My mother, raised Catholic, chose Judaism, married my father and converted.

As for me, I could move to Israel, the Promised Land, anytime I want. Many people I know have done this. But I don’t want to.

How can this be? I am a religious person. My prayerbook is dripping with longing for this land, full of texts written by people who couldn’t get there. The Torah that I study week after week is in large part a chronicle of my people inhabiting that land and then trying to return to it. And even if I prefer to stay in the US, how is it that millions of traditional religious Jews are happy to live all over the world, when they could easily relocate to their beloved spiritual homeland?

Today, that land has descended into hell. The IDF perpetrates mass murder, Hamas insists on acts of war, prisoners suffer in desperate conditions, Palestinians starve en masse in a Gaza that has become a ghetto.

It is more obvious than ever that Jewish statehood in the Holy Land has not ended our spiritual exile. A Jewish state may be a political reality, but it is not a spiritual solution. It cannot satisfy our longing. We yearn for something far, far deeper. We yearn for the repair of the world, the end of falsehood and bloodshed, the reign of peace and justice.

I think this deeper yearning, not satisfied by land acquisition, goes way back, back before the Exodus, back to the late chapters of the book of Breishit.

In this week’s Torah portion, Jacob and his children are living happily in Egypt. Before Jacob dies, he asks that they bury him in Canaan. After his death, the Jewish people travel together to the Promised Land for his burial and funeral. It’s not that big a deal. It doesn’t take forty years. They just ask the Pharaoh, he says yes, and they go. And then they come back to their homes in Egypt.

These are, maybe, the first diaspora Jews, and their exile seems voluntary. They could move to Israel, but that’s not where they live, that’s not where they’re raising their children and involved in government and generally thriving. And more: there is a deep purpose, perhaps one they’re not even aware of, for their exile in Egypt.

Jacob’s death ends the period of the patriarchs and matriarchs, the avot and imahot. These iconic three generations of ancestors–Abraham and Sarah, Isaac and Rebecca, Jacob and Rachel and Leah–are credited as the originators of our spiritual tradition. Genesis has been largely a book not so much about a community as about these towering individuals, whose personalities and accomplishments still reverberate in our liturgy, our mythology, our souls. 

And from the beginning there is this strange pressure for each of these generations to have one single spiritual inheritor. A chosen child to continue the mission, to receive messages from God, never mind the familial discord this may create. It’s Isaac, not Ishmael. It’s Jacob, not Eisav. And Jacob seems poised to father the next great inheritor.

But something changes in Jacob’s generation. His plan to marry Rachel goes awry when he is tricked into marrying Leah first, and he eventually also marries two of their servants for a total of four wives, with whom he fathers thirteen children. Rachel is the last one to give birth, and her firstborn son Joseph seems, early on, to be that special chosen one, the one Jacob favors. But that plan, too, goes awry. Joseph has ten older brothers who are not happy about this favoritism, ten Eisavs to worry about compared to his father, who had a hard enough time fending off just one. And the old model, of one saint passing the torch to the inheriting saint, finally breaks. The brothers turn on Joseph and sell him into slavery in Egypt.

Joseph, like the three patriarchs, is a singular personality. His individual story is dramatic and righteous. But what he’s not is the next Isaac, the next Jacob. There is no next Jacob. A new era has begun: the era of B’nei Yisrael, the children of Israel (Jacob’s alternate name). This becomes the name of the nation which will be used throughout the Bible. The dynasty is no longer a dynasty, but an expanded family in which all are equal inheritors of the tradition, with no single clear leader. A large group in solidarity and spiritual alignment.

Simultaneous with this shift is the movement from Canaan to Egypt. Our parasha is the end of Breishit and the beginning of Shmot, the second book of the Torah, which will be radically different than the first. Jacob gives his parting blessings to his children at the dawn of the exile and transmits a crucial message: “God will be with you and will bring you back to the land of your ancestors.”

They could return right now. The text makes sure we know that they are able, shows us how easy it is. But they don’t. Instead they allow their holy land to exist as a horizon of spiritual possibility. Here the Promised Land becomes what it remains for the rest of the five books of Moses: an ever-receding myth, somewhere we approach, but never fully reach.

And this is how the Jewish people as we know it is born.

Exile is dangerous, make no mistake. Though Joseph wants his family to live with him in Egypt and share in the power and abundance he has attained there, Jacob needs explicit encouragement from God before going. “Have no fear of descending to Egypt,” God told him in last week’s parasha, “for I shall establish you as a great nation there. I myself shall descend with you to Egypt and I myself will also surely bring you up.” Jacob is right to be afraid: in Egypt, his descendants will face mass enslavement and murder. And yet there is something about exile that is necessary to the Jewish mission in the world, that both expands and deepens it. As Joseph tells his brothers when they are first reunited, “Don’t be distressed…God has sent me ahead of you to ensure your survival in the land and to sustain you for a momentous deliverance.”

Exile is not all bad, the Torah tells us. In fact it is indispensable. It has a very real purpose. It widens the capacity of the Jewish people. It allows us to grow beyond a closed-off little family that talks to God. It allows our spirituality to impact history.

The late 19th-century Polish hasidic thinker known as the Sfat Emet is one of my personal favorite Torah commentators. I doubt my love for his teachings can be separated from my love for my own Polish grandfather, z”l. Living amidst rampant and institutionalized anti-Semitism, the Sfat Emet taught, “This is the purpose of exile: that Israel make visible God’s kingdom, which is indeed everywhere. The true meaning of the word galut (exile) is hitgalut (revealing), that the glory of God’s kingdom be revealed in every place.” 

These two Hebrew words share a root for a good reason. Exile is dangerous, one is uncovered. Without protection, vulnerable. Showing oneself, speaking truth, can be dangerous in the same way. The faith of the Jewish diaspora is that this kind of vulnerability can be worth it. If you stay in your fortress, you are safe but you are cut off, you cannot communicate. If you grab your flashlight and walk into a dark, uncertain world, you light up the road on which you walk.

The transformation of the patriarch era into an era of communal expansion in Egypt has a similar kind of opening quality, an uncovering that also entails a loss. The patriarchal intimacy with God, a clarity and protection, give way to an imperfect but much more widely shared relationship with God.

Jacob himself feels this loss as it happens. His blessing of his twelve sons in this week’s parsha begins with a mysterious introduction. “Assemble yourselves,” he announces, “and I will tell you what will befall you in the latter days.” B’acharit ha-yamim. But he never seems to get to that information, nor does he specify what days he means. What follows instead is an oblique poem containing cryptic blessings for his children. An old midrash sheds light: “He wanted to reveal the end of the exile, but the Shchinah (the Presence of God) departed him, so he began to speak of other things.” 

This failure to communicate is connected to exile. Far from home under foreign rule, Jacob is in some way blocked from prophecy. A kind of perfect awareness has been lost to him, signaling the end of his era of patriarchal perfection and the beginning of something else, something larger and deeper.

When the Sfat Emet, a wise man living in the exile of his own time, tries to teach about this midrash, he too is partly blocked, his memory fails him. He teaches, “I believe my grandfather quoted the Rabbi of Pr-shiss-cha (Przysucha) as wondering why Jacob wanted to reveal the end. His answer was that when the end is known, exile is made easier. That’s all I remember, but it seems to mean the same: revealing the end means knowing there is an end to exile, and that shows it to be but a matter of hiding, not a force of its own… Jacob our Father just wanted there to be no mistake about this, that it all be obvious, but that goal eluded him. You need to struggle to find truth.” 

The contemporary spiritual exile, the one you and I are living through, is not easy, at times it is horrific. How it will end, how a better world could be revealed, is not yet clear. But if we are struggling to find the truth, struggling to uncover it, then we will not have wasted our time. Wherever we are in the world, it is our task right here and now to reveal and enact the good and the holy, the better world that is possible, hiding in plain sight.

Chazak Chazak v’Nitchazeik.

[geekygemsshoppe]

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[cto10121]

Finished re-reading Eclipse (yeah, I’m going backward, sue me) and it truly is. Romance book logic at its finest. Some notes:

Antis whining and bitching about Edward’s overprotective behavior for 1/3rds of the book when 1) Bella does call him out on it and 2) Edward ends up apologizing and promising not to be so high-handed would be hilarious if people didn’t take that seriously. Granted, both Bella and Edward cannot stay angry with one another for one goshdarn minute (R&J: *glares, files a lawsuit*) without forgiving each other and making up. The most hilarious instance is Bella making her grizzly bears threat and then snuggling up to Edward when he returns (“I should infuriate you more often” he literally jokes). As for Edward, there is his agreement to miss out on the fight even when he clearly wants to go, but also at the end he was entirely willing to just give Bella the D!!! Without conditions!!! Too bad Bella finally realized it was best to make a proper farewell to her human life, she could have had a real happy time at their meadow.

Also re: “Edward isolates her, classic abusive behavior!!!” anti clown take…high-handed as Edward can be, he does not isolate Bella from her friends or cleave her from human life in general. On the contrary, he practically all but begs her to prolong her human life for a year or two or indefinitely, apply to and go to college, and spend more time with her human friends. He only has a problem with Jacob for obvious reasons re: treaty, romantic jealousy, etc. Hell, he doesn’t even want to her be a vampire. Edward’s chosen path is simply to be with Bella all throughout her human life. That is not the behavior of real-life abusers, btw. For better or worse, Bella’s becoming a vampire is driven chiefly by Bella herself. She decides whether it’s best to spend more time with friends or simply let those friendships go. She decides she wants to retain Jacob as a friend.

Jacob. My opinion is still the same: Fun character, still the worst as a love interest. I had more fun with him now than I did in my salad years (@my extremely salty teen self writing “DIE JACOB” for two whole pages, I know, bby, I get it), but thematically it does make sense. Eclipse is all about Bella realizing what she would give up re: her humanity, making her decision to become a vampire a truly informed one. That includes acknowledging Jacob as a potential love interest, Rosalie’s perspective, Jasper’s knowledge and history on newborn vampires and how truly violent the vampiric world is, seeing an example of a newborn vampire (Bree), and at least 1) human experience Bella does not want to miss out.

Speaking of which, Horny Bella!!! God I love this bitch!!! More seriously, I like the subversion of the virgin girl/bad boy trope by having Bella be the one to push for sex. And of course Bella agrees to marry Edward just so that she could have that sweet, sweet vampire D. I thoroughly approve.

The Edward and Jacob rivalry. 10/10, the best. I was eating mental popcorn throughout. Their stand-off at the school and Mike et al.’s subsequent bet, the male posturing, the tent scene…Edward’s jealousy especially was so entertaining. Edward’s reaction when Bella punched Jacob was sheer (romance novel) perfection. Charlie’s being blithely Team Jacob was the cherry on top of this social comedy sundae. And of course that tent scene was so iconic freakin’ Hunger Games copied it (and really badly. Why the hell did Collins even bother?).

On a related note: Those Wuthering Heights allusions were anvil-sized, but apropos, of course. I liked that Edward was the Heathcliff and saw himself in him, making Jacob the Linton. Fits into my personal theory of the Twilight Saga just being R&J, Jane Eyre, and Wuthering Heights put into a blender.

Bella being the one to piece together the mystery once more. She really gets all the brains for the first 3 books. This time, though, I call bullshit on them not realizing Victoria’s obvious involvement once they realized the intruder and the newborns in Seattle were connected. It was very much obvious. The only real twist was the Volturi coming in.

Rosalie’s backstory was so realistic and is a great commentary on misogyny than it is given credit for. Bella’s reaction was underbaked, though. She does get (1) nightmare over it, but otherwise it’s Tanya’s interest in Edward that really sticks. (Honestly, I’m here for it. Jealous!Bella is second only to Horny!Bella. Again, romance book logic at its finest.) Bella had much more of a empathetic reaction to Leah’s dilemma than Rosalie, interestingly enough, considering Sam/Emily is drawn as an explicit parallel to her and Edward. Perhaps Leah being the Jacob of that particularly triangle did touch her…

Antis clutching their pearls over Jasper was a Confederate soldier…when Jasper mentions it once, expresses zero nostalgia for that period in his life, and doesn’t even explain why he enlisted in the first place. He wasn’t even fighting when he was turned, just evacuating the city. Either way, he wasn’t a soldier for long before he was conscripted into another vampiric war.

Cinderbella strikes again re: Charlie and Renée, both weak ass parental figures. Again, it gives rationale for Bella’s attraction to Edward (more mature, stable, educated) and to Jacob (happy-go-lucky, younger, more reckless, laissez-faire). Both devoted powerful protectors belonging to fantastical worlds. Yeah, that tracks

“I refuse to be affected by territorial disputes between mythical creatures.” 🤣🤣🤣🤣🤣 This line is so underrated.

In Breaking Dawn, I wondered a bit how Edward could accept Vampire Bella so quickly re: his soul reservations, but Eclipse does provide an answer. Bella is worried Edward would prefer her as a human than a vampire, and Edward literally 🤣🤣🤣🤣. Nice to know this was no retcon and yeah, it tracks

Edward being so damn generous with Bella realizing she is in love with Jacob is really the core essence of Team Edward for me. Jacob would not have been so generous had Bella met Edward after she had Jacob. Edward does love her best. Honestly, I even think she and Edward are more alike than Bella and Jacob. Bella and Jacob clash more often than they agree. Jacob does read her and understand her a lot better, I’ll grant you that.

Book Bella: “But I want you to know something—when it comes to all this enemies nonsense, I’m out. I am neutral country. I am Switzerland.” Movie Bella: “i’MSWITZERLAND!!!1!” God, the movies did Bella so dirty.

[therealslimshakespeare]

Hello, omg I just wanted to say that the essence you capture in your fics is straight out of a Sofia Coppola movie with Lana Del Rey on the soundtrack, and by that I mean, my god reading the small details in your work is, for lack of a better expression, like shooting up ecstasy. I can completely envision everything. And I feel better saying this now that it's been so long since the release, but I've noticed you use images/gifs from the film Priscilla (2023), and I think that you really capture visions of that film within certain snippets of your writing, as you also do with ELVIS (2022).

Both films have such different airs, and while I'm not here to debate which one is more accurate, better, etc. (as I believe they're just different characterizations of the icon that is Elvis, neither show him completely true to form.) I've gotta ask if you'd consider writing something with Priscilla's background/essence with Jacob Elordi's characterization of Elvis as you did with Austin's.

This is really just an excuse to yell at you about your wonderful writing, but also had to ask that as well <3

BESTIE YOU CANT JUST THROW COMPLIMENTS AROUND LIKE CONFETTI THINK OF MY HEALTH!

but truly, what a kind thing to read, I so often say my chief upset with my own creativity is how badly I want to capture an atmosphere, which if I had a camera and soundtrack I could do far easier than my chosen medium. I see things so visually and fully in my head, but then when you go to write it on paper, describing autumn leaves in depth can be all a bit humdrum.

to answer your question, I have not as yet seen Priscilla. I intend to to, I just haven’t got around to it but gosh how I love the visuals. So once I do, if it inspires me I very well might write it, until then most of my writing is my interpretation of the real man. Except for the few specified by Austin’s portrayal, which I love to tap into as it is most certainly different than even the real Elvis. Butler brought a different and interesting quality to him that may have been more of a capturing of an essence then a Word for Word, stickler impression. And obviously it was effective.

Xoxo thanks for popping in

[evening-rose-309]

I don’t give a fuck bestie, the Chosen One is the most iconic Fallout protagonist.

Tell me who can fit: a goddamn sentient deathclaw who can speak human language, a fucking big ass 1st gen mutant, a slow ass ghoul, a literal forgotten perv who made jet, an old ass deadbeat from slavery, Sharon Cassidy’s heart condition riddled daddy, a tribal with a bone in his nose…

in a goddamn 2 door coupe?

WHO I ASK YOU, WHO???

That kid who beat Tetris obviously /j

Honest? On the subject of cars, I really wish we had more of em (—in Fallout—). Like, I haven't gotten far in 2 and been ghosting it, so I don't know if the car is haunted or some Newt Scamander's Suitcase™ levels of spacial manipulation is going on, and that's what makes it special enough to exist in the universe where all vehicles you see are either broken or not in current use (—aside from vertibirds—).

I get engine constraints and whatnot, but there were whole concepts of Legion using improvised motorized chariots and no way are the NCR transporting all their foot soldiers purely on foot or in 'birds. We could've had tanks maybe, or those cargo trucks you see on the roads between states or big cities. Would've been cool.

Then again, we'd probably have the same problem as the settlement building—in that the cars would be optimized on that gimmick while the rest of their function and the game wouldn't.

On that note, I should jump back in to the classics at some point. I wanna meet that talking deathclaw and Marcus and the fabled Jacob whose name is forever immortalized on Mt. Charleston and our hearts.

[lonelier-version-of-you]

Wow, what an episode tonight!! I think it was a great improvement over the previous episode’s Faith-centredness. It did quite well at introducing all the new characters, which I liked.

It’s absolutely wonderful to see Donna again!! She is, imo, the best character they could have chosen to cross over to Casualty. I’m very glad it’s her and not someone like Henrik (who I think is beyond saving as a character now, Holby fucked him over too much, all I want is for Casualty to say he left the hospital) or Fletch (who is extremely boring to me).

I hope she gets some good storylines now. Holby didn’t give her anywhere near enough stories in her second stint (although looking back... perhaps that was a blessing, because look at the stories other characters got - they weren’t good ones). Also, if Casualty give Donna a girlfriend, or just let her mention being bi, I’d love them forever.

Jaye Jacobs was great as ever, and Donna fits in to the department brilliantly. She didn’t have that much of a storyline in this ep, but they were trying to juggle her re-introduction (and introduction, for people who are only Casualty fans and may not remember or have seen her in previous crossovers) with the introduction of the four new nurses, so that’s understandable. It looks like she gets more to do in the next ep - including interaction with Dylan, which I’m excited for! Even seeing them in the same scene in this ep made me excited. As did Donna having a scene with Stevie. It’s great seeing her interact with all the Casualty icons.

I’ve been excited for the new nurses for months, and I very much enjoyed their first episode! I pretty much like all of them so far. Idk how I feel about Ryan, but he’s not as annoying as I worried he would be, at least (I thought he was going to be a lot more Harry Tressler-like than he seems). I’ll have to see more of him to have more of an opinion, though.

Jodie is probably my favourite so far. She just has this sort of energy about her that I enjoy. Anna Chell is great in the role so far.

I thought Jodie was going to be either an ex or a relative of Max - it turned out to be the latter. So, either she’s his daughter, or his stepdaughter! Either one is very interesting and gives a lot of storyline potential.

Cameron is very likeable. He reminds me a lot of Arthur Digby (at least Arthur in his first few episodes). Comparing him with Lofty makes sense too, but I do see a lot of Arthur in him. He seems like a sweetheart. I wondered what Barney Walsh would be like as an actor, and he’s pretty good! So yeah, I’m not, like, deeply interested in Cam but I do very much like him.

Ryan didn’t get that much screentime, so I’m still figuring out how to feel about him. Eddie-Joe Robinson seems good so far, though! He was in an episode of Casualty before, in another role, but I don’t remember it well so I don’t remember what he was like in that.

Rida is the one I thought I’d like the most, and I’m definitely enjoying her! But we didn’t see her that much in this episode either, so I don’t have a lot to say yet. I think, from this episode, she’s my second fave. She seems like a very fun character, and I’m liking Sarah Seggari in the role!

Elsewhere, Jacob’s a paramedic now! I feel like it’s a bit ridiculous for him to be a paramedic already, but oh well. I think I would’ve rather had them retcon in that he trained as a paramedic before or something. He does fit in well with the paramedics, though! And I love Jacob anyway. Whether he’s a nurse or a paramedic, I don’t care, he’s great.

I loved the variety of patients in this episode, and their various stories. I feel like, the more patients a Casualty episode has in it, the more I tend to like it, lol.

[mancimanuella]

Analyzing narratives

To analyze narratives, I have chosen two of my favorite movies, they are very different movies with very different narratives. I figured that looking at two such opposing ideas would help me grasp narratives better.

1. Interstellar (2014)

Narrative structure- This story follows a mainly linear structure with a few non-linear elements as it does explore time travel and time dilation. The movie is centered around Cooper, a former NASA pilot, he joins a mission to find a new planet that is habitable to the earth’s deteriorating environment. The film explores themes of sacrifice, love, and the survival of the human race.

Deeper analyzation of the themes shown:

Love vs. Science- the narrative highlights the idea that love transcends dimensions. This is displayed with Dr. Brand´s belief that love can guide us towards solutions even when logic has failed.

Sacrifice and survival- copper basically sacrifices his with his children to save future generations, showing how personal sacrifices are sometimes necessary for the greater good.

Human resilience- this film highlights humanity´s drive to survive against all odds, even the vast emptiness of space.

Character arcs:

Cooper (played by Matthew McConaughey)- he is a loving father of two torn between staying with his children and his duty to save humanity. His character goes from being skeptical of NASA´s mission to embracing the need for exploration.

Murphy (Jessica Chastain and Mackenzie Foy)- she is Cooper´s daughter, she grows up resenting him but later becomes an essential part in solving the equations needed to save humanity. Her arc highlights the theme of belief and perseverance.

Narrative techniques:

Time dilation- the film uses the scientific concept of time dilation to create emotional depth. Time moves differently on each planet; this causes Cooper to miss decades of his children´s lives.

Parallel storylines- the narrative often changes between the events happening in outer space and the struggles on earth, this creates tensions and heightens the stakes.

2. Priscilla (2023)

Narrative structure: the narrative of this film is a biographical drama that follows a chronological timeline, it focuses on the life of Priscilla Presley starting with her teenage years through her marriage to Elvis Presley. The story dives into her personal experiences, inner struggles and emotional growth.

Themes:

Identity and independence- the story explores how Pricsilla grapples with her identity while being in the shadow of a world-famous icon. It focuses on her journey to reclaim her true self.

Love and control- the film examines the dynamics of Priscilla´s relationship with Elvis, emphasizing the complexities intertwined with control, fame and power.

Coming of age- despite revolving around Elvis´ and Priscilla´s relationship, the story explores her growth from being a naïve teenager to a confident teenager.

Character arcs:

Priscilla Presley (played by Caille Spaeny)- the protagonist’s journey focuses on her transformation from an infatuated young girl to an independent woman who learns to stand up for herself.

Elvis Presley (played by Jacob Elordi)- although Elvis is an important character, the story mainly revolves around Priscilla´s perspective, depicting him as both a charismatic lover and a controlling partner.

Narrative techniques:

Subjective point of view- the story is told mainly from Priscilla´s perspective, which influences how the audience perceives the overall story, particularly Elvis.

Visual symbolism- the film uses many visual elements, such as costumers and settings, they are used to symbolize Priscilla´s changing sense of self and her gradual detachment from Elvis´ world.

[fashioneditswebsite]

Diane von Furstenberg says documentary is ‘homage’ to Holocaust survivor mother who ‘refused to be a victim’

The glamorous fashion designer talks to Prudence Wade about reliving her past in a new documentary and how male and female designers differ. Fashion designer Diane von Furstenberg says watching the documentary about her life was like “being at the gynecologist.” Diane von Furstenberg: Woman in Charge follows the extraordinary life of the Belgian designer, who was born in Brussels in 1946. When she first watched the Disney+ documentary, von Furstenberg admits laughing through it, adding: “But laughing for me is a defense system, so that doesn’t explain anything. “It did feel a little bit like being at the gynecologist – and then, for a few weeks, I got crazy. I got a little paranoid, I said, ‘People are going to think who does she think she is?’ and blah, blah, blah, that I prostituted my family, and for what?” The film was chosen to open the Tribeca Film Festival, and von Furstenberg appreciated its authenticity and realness. Sharmeen Obaid-Chinoy, a two-time Oscar winner, co-directed the documentary. She explains that Diane’s story is extraordinary. A woman born after World War Two immigrated to America and started a business despite gender discrimination. The story of Von Furstenberg includes contributors like Oprah Winfrey, Hillary Clinton, and Marc Jacobs. Von Furstenberg reads a message from Former Secretary of State Hillary Clinton about the film. “She said: ‘Diane, wow – the doc is fabulous, honest, charming, poignant and a Valentine to your amazing mother’,” von Furstenberg reads aloud. View this post on Instagram A post shared by Diane von Furstenberg (@therealdvf) “‘I loved every minute and felt such pride and affection for you and the life and legacy you’ve built my friend. Brava for the woman in charge’.” Von Furstenberg’s mother, Lily Halfin, who died in 2000, is central to the film and helps you understand how the designer became who she is. “My mother refused to be a victim; my mother refused to die,” von Furstenberg says. “That desire to live and honor life was so strong in my mother, and she gave it to us. "I realized the documentary is an homage to my mother because she gave it to me without crying." Diane von Furstenberg, 77, remains glamorous and effervescent. She is renowned for creating the iconic jersey wrap dress, which instantly became a smash hit. At one point, von Furstenberg said she sold 25,000 dresses a week. “I made her, but she made me,” von Furstenberg says of the wrap dress. “And because she made me, and she made me an independent woman, I was getting more confidence… And that confidence was contagious.” Obaid-Chinoy adds: “The wrap dress came at a time when high fashion was not accessible to women. At that time, people told women to dress more like men to be taken seriously. View this post on Instagram A post shared by Diane von Furstenberg (@therealdvf) “It liberated the way women saw themselves in dresses and was a garment of freedom.” This speaks to the way von Furstenberg designs clothes. “Christian Lacroix once told me, ‘Men make costumes, and women design clothes’ – and it is true,” she notes. Please remember this text: "If you think about it, from Madame Vionnet to Coco Chanel, to Donna Karan..." Von Furstenberg's career had its ups and downs, but she always had one eye on the future. The designer says she’s been thinking about her legacy “since I was five years old,” as she knew that “the only power I had was me.” So, what’s next for the fashion powerhouse? “I’m going to try to use all the things I’ve learned – my wisdom, my knowledge, my connections, my resources – to help other women be the woman they want to be.” Diane von Furstenberg: Woman In Charge is available on Disney+ from June 25. Read the full article

[thehourmarkers]

Rare and Unique Watch Finds At MET Gala 2024 Which Nailed The Theme “The Garden of Time”

When Alia Bhatt sashayed down the MET Gala Red Carpet in a floral creation created by ace Indian designer Sabyasachi, which gracefully depicted the theme The Garden Of Time it surely grabbed eyeballs. However, it was watches that were the true showstoppers at this year’s Gala. With a theme that lends itself so completely to the world of watches has been chosen for the official dress code, is it any surprise that the watches of MET Gala stole the show? Many of the attendees on the star studded guest list took the theme literally and displayed an array of beautiful watches that conformed to the set dress code.

Every year the MET Gala, also known as The Costume Institute Benefit takes place in the month of May, and is a fundraiser that benefits the museum's Costume Institute. The famed Red Carpet is a significant moment in pop culture as a slew of celebrities from all across the globe attend the event sporting their most outlandish looks and accessories. This year did not disappoint as we were treated to some of the most stunning creations that made their appearance on the carpet. Read on to see how your favourite celebrities accessorized their looks as they interpreted this year’s theme. 

Chris Hemsworth 

Chris Hemsworth channeled his inner Thor and sported a strong wrist game with this Chopard Alpine Eagle timepiece. Opting for a more refined and understated watch, Hemsworth chose the timepiece in rose gold with a diamond bezel. Known for his love for bold timepieces, this elegant watch perfectly complimented his neutral toned suit. 

Barry Keoghan 

Leaning into the theme Garden of Time, Barry Keoghan showcased not one, not two but three timepieces on the carpet, all from the brand Omega. Perhaps the most special of the trifecta is a rare 1930’s Omega Lépine “Sideros” pocket watch in the art déco style. He further accessorized his Mad Hatter style look with a De Ville Prestige in yellow gold, and a Seamaster Aqua Terra in 18K Sedna Gold and diamonds. 

Lil Nas X 

Lil Nas X went full glam with his choice of wrist candy as he sported a white gold Piaget vintage dress watch with a green malachite dial. The textured bracelet which housed the dial is a Piaget signature making it a true icon among icons. 

Usher

True to the Gala’s theme Usher adorned the extremely rare and highly coveted Jacob & Co. Billionaire III Ruby timepiece that redefines extravagance in every way. Set in 18k white gold and stunning rubies totalling 147.65 carats, the watch reportedly costs a whopping $5,00,000.

Ben Simmons

NBA forward Ben Simmons brought his A-game on the red carpet as well as he was seen flaunting a clock briefcase along with a gem-set Patek Phillipe Aquanaut Luce “Rainbow” on his wrist. The technicolored chronograph features a 39.9 mm rose-gold case, a mother-of-pearl dial engraved with the signature Aquanaut pattern, and a red strap.

Serena Williams 

Tennis Legend Serena Williams and Audemars Piguet are a classic combination. Sporting the brand new Sand Gold Royal Oak Flying Tourbillon Openworked timepiece by the watchmaker, Williams has made her love for watches from the brand pretty clear. Paired with this ultra-glamorous gold cocktail gown, she dazzles both on the field as well as the red carpet.  

Alexander Skarsgård

Succession star Alexander Skarsgård gave tech mogul vibes as he strapped on a Hublot Classic Fusion Chronograph Titanium Racing Grey 42mm. This all black timepiece was a perfect match for his formal black suit that screamed quiet luxury.   

Jeff Goldblum 

The actor came decked out in Tiffany & Co. brooches, two pairs of glasses, white gloves, a smart black overcoat and more Tiffany on his wrist, with the brand’s Cocktail 2-Hand watch. The timepiece comes with a black satin strap, a bezel set with round diamonds, and a white guilloché dial. Classy and niche, he surely nailed the theme! 

Michelle Yeoh 

Michelle Yeoh once again owned the red carpet with her new Richard Mille RM 07-01. A perfect marriage between playful and sophisticated the timepiece effortlessly blends the use of ceramic, golds and bright colours. Paired with this silver foiled gown she really added a touch of elegance to her look. 

[theodoreandc]

Casual Watches for Men: Elevate Your Style with THEODORE & C.

In men's fashion, casual watches for men have emerged as functional accessories and style statements that reflect one's personality and taste. A well-chosen wristwatch can effortlessly enhance any casual outfit, exuding sophistication and refinement. At THEODORE & C., we understand the significance of a watch that seamlessly marries style with substance. With our exquisite collection of casual watches for men, we invite you to embark on a journey where precision meets panache.

Each watch in our collection holds within it a unique narrative – a blend of artistry, innovation, and heritage. When you adorn your wrist with a THEODORE & C. timepiece, you're not just wearing a watch; you're wearing a piece of history, representing the dedication and passion that goes into horological craftsmanship. These casual watches for men aren't mere accessories; they're reflections of the wearer's appreciation for the finer things in life.

 Unveiling the World of Casual Watches

The realm of casual watches for men offers a spectrum of options, each contributing to a distinctive aura. From a laid-back weekend stroll to an informal business meeting, these timepieces complement various occasions and outfits, making them a must-have in every modern man's accessory arsenal.

THEODORE & C. understands the significance of versatile watches seamlessly transitioning between casual and formal settings. Their carefully curated collection ensures that men don't just wear watches; they make a statement. With a deep appreciation for craftsmanship, THEODORE & C. source watches from internationally renowned brands that have perfected the art of horology over generations.

 The Allure of THEODORE & C.

What sets THEODORE & C. apart from the plethora of online watch stores? Let's delve into the reasons that make it the ultimate destination for casual watches for men:

1. Unparalleled Curation: The collection at THEODORE & C. isn't just extensive; it's a carefully curated selection of timepieces embody elegance, innovation, and the spirit of casual sophistication. Every watch tells a story; at THEODORE & C., you'll find a narrative that resonates with your individuality.

2. Diverse Range of Brands: From the iconic designs of Rolex to the avant-garde creations of Jacob & Co., THEODORE & C. brings together a diverse array of brands under one virtual roof. This means you can explore different styles, movements, and aesthetics, ensuring a perfect casual watch for every man.

3. Craftsmanship, Quality, and Elegance: THEODORE & C. has carved a niche as a premier online watch store, curating a selection of watches that appeal to discerning individuals seeking elegance and performance. Our collection boasts a range of casual watches for men that effortlessly bridge the gap between laid-back style and impeccable craftsmanship. Whether you're dressing down for a weekend getaway or simply aiming to exude an air of relaxed refinement, our watches are designed to complement your look flawlessly.

Q: What makes a watch casual in terms of design?

A: A casual watch typically features a more relaxed design, often with a more straightforward dial layout and a comfortable strap. It's versatile enough to be worn with various everyday outfits, adding a touch of elegance without being overly formal.

Q: Why should I purchase THEODORE & C. for my casual watch?

A: THEODORE & C. offers a handpicked selection of casual watches from internationally renowned brands. Their commitment to quality, authenticity, and style ensures you find a timepiece that resonates with your taste and lifestyle.

Q: How do I choose the right casual watch for my style?

A: Consider your style – do you lean towards a sporty, minimalist, or classic look? Look for features like dial color, case material, and strap type. At THEODORE & C., our diverse collection ensures you'll find a watch that resonates with your style.

Q: Are luxury casual watches worth the investment?

A: Absolutely. Luxury casual watches combine meticulous craftsmanship with timeless design, ensuring they remain stylish and functional for years. They not only enhance your attire but also hold value as collectible items.

Q: How do I know if a casual watch suits casual and formal occasions?

A: Look for watches with clean, versatile designs and neutral color palettes. Metal or leather straps can add sophistication, making the watch suitable for formal settings, while a balanced design ensures it doesn't appear too flashy for casual wear.

Q: Can I find limited edition casual watches at THEODORE & C.?

A: Yes, THEODORE & C. often features limited edition releases from top brands. These watches are not unique but also hold a special place in the world of horology; collectors and enthusiasts prize them for their rarity.

Conclusion

In a world where accessories define your style, a casual watch for men from THEODORE & C. is more than just an accessory; it reflects your refined taste and regard for the finer things in life. With a collection that spans the realms of luxury, innovation, and tradition, THEODORE & C. ensures you'll find the perfect timepiece to accompany you on your journey through time.

So, why settle for ordinary when you can adorn your wrist with a masterpiece? Explore THEODORE & C. today and discover the world of casual watches for men that elevate your style to new heights.

In the realm of horology, THEODORE & C. stands as a beacon of excellence, offering a curated selection of casual watches for men that redefine sophistication and elegance. From timeless classics to contemporary marvels, each watch in its collection tells a unique story that becomes a part of your journey every time you glance at your wrist. So, why wait? Embark on a horological adventure with THEODORE & C. Experience the fusion of craftsmanship and style that sets your heart racing and your wrist adorned.

[80sedit]

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