#diana bolen

[archetypesanalysis]

Crosshair's Anima

This is the third part of the character analysis for Crosshair. You can read part 1 and part 2 here. I will be referring to “Goddesses in Everywoman” by Jean Shinoda Bolen for this analysis.

Crosshair’s anima consists of multiple archetypes, but the most prominent ones are Artemis and Hera. Artemis, or Diana as the Romans called her, is the Goddess of the Hunt and the Moon. She is the first-born twin sister of Apollo, the God of the Sun. As the Goddess of the Hunt, she wields a silver bow and carries a quiver of arrows on her back. She roams the wilderness of forest, mountain, meadow and glade with her band of nymphs and hunting dogs. As the Goddess of the Moon, she acts as a light-bearer, carrying torches in her hands or with the moon and stars surrounding her head. She is also the Goddess of Wildlife and she is associated with many undomesticated animals like the stag, doe, hare, quail, lioness, boar, bear and horse.

Artemis is a virgin goddess and she is the personification of an independent feminine spirit. She feels whole without a partner, and she has the “I can take care of myself” attitude. This archetype enables one to pursue interests and work that matters to them without needing other people’s approval. Their identity and sense of worth are based on who they are and what they do, rather than their relationships with others. Although Crosshair is part of the Bad Batch, he is capable of doing his own work while separated from them. In “The Bad Batch”, when the Bad Batch, Rex and Jesse infiltrate the Cyber Center, Crosshair positions himself from a distance, and he goes to secure a speeder craft as their getaway vehicle. In “A Distant Echo”, when Anakin tells the Bad Batch and Rex to split up so they can find Echo easier, Crosshair chooses to separate from his team and follow Anakin. With the rise of the Empire, Crosshair remains capable of carrying out the orders given to him even though the Bad Batch refuses to do so. He strongly identifies himself as a soldier of the Empire, claiming that this is who he is in “Return to Kamino”. He is certain of his identity even without the influence of the inhibitor chip and without the approval of the Bad Batch.

As the Goddess of the Hunt, Artemis is an archer that has the ability to aim for any target and know that her arrows will reach its marks. This archetype gives one the ability to concentrate intensely on whatever it is important to them, and to be undistracted from their course, which is called “focused consciousness”. The needs of others or competition would not deter them. In fact, competition only heightens the excitement of “the chase”. Not even obstacles or the difficulty in achieving the goal can hinder their perseverance. Since Artemis is more aligned to her instincts, her arrows are charged up with emotions. Hence, when a person channels their passion and intense emotions into pursuing a goal, their focus can be so intense that it becomes incredibly precise or destructive. Crosshair channels his intense emotions through his sharpshooting skills. His focus is so intense that every shot he makes is a precise killshot. However, in “Aftermath”, the shot Crosshair makes towards Wrecker only injures him. This may be a sign that he is fighting the effects of the inhibitor chip, and that he never intends to kill his brothers despite they have been branded as traitors to the Empire.

Artemis is seen as the archetype of the women’s movement because she is competent and independent, and she is protective of women and children. Since Artemis goes hunting and exploring the wilderness with her band of nymphs and minor deities associated with mountains, woods and streams, Artemis is also seen as the “big sister” archetype who emphasizes the “sisterhood” of women. In the myths, Artemis helped her mother Leto during her prolonged childbirth, and saved her from the giant Tityus who tried to overtake her. Artemis also came to other women’s aid, for example, she rescued the woodland nymph Arethusa from the pursuit of a river deity. Artemis is also known for her mercilessness, which is evident when she punished the hunter Actaeon who accidentally saw the goddess and her nymphs bathing in a hidden pool.

Crosshair is very protective of his brothers. In the Hyperspace Stories #10, when Dr. Krail appears as a hologram to greet the Bad Batch and state that he has been anticipating their arrival, Crosshair stands in front of Wrecker to protect him. In the episode “On the Wings of Keeradaks”, Crosshair protects the Poletecs by taking down the battle droids from afar. He also cares about Echo’s wellbeing as he is seen placing a hand on Echo’s shoulder after they fight off the battle droids. There are many headcanons and fanfictions that depict Crosshair protecting the vulnerable such as rescuing a person from another’s unwanted advances, which sometimes leads to a physical altercation. If Crosshair is not affected by the inhibitor chip, he will be impressed by Omega’s bravery for standing up for the Bad Batch in “Aftermath”.

People who feel true to themselves being with nature is connected to Artemis because she is associated with the wilderness and undomesticated nature. They may feel like they are in a spiritual communion with nature – be it surrounded by forests, mountains, or under the starry night. As the Goddess of the Moon and the Hunt, Artemis grants “moonlight vision”, which helps a person to look inward (like going into the wilderness, which contains our dreams, experiences and connection with nature) and be more reflective. There are headcanons that depict Crosshair as an animal lover, especially towards baby animals, which is an Artemis trait. In “Kamino Lost”, Crosshair is shown to have “moonlight vision” when he successfully takes the shot to save Omega despite the dark surroundings and the murky waters below. In “The Outpost”, Crosshair makes a spiritual connection with the Ice Vulture, which helps him to look inward and reflect on his decisions, leading him to turn against the Empire.

In Greek mythology, three goddesses make up the moon trinity – Selene who rules over the sky, Artemis on earth, and Hecate in the Underworld. This moon trinity can be represented by Riyo Chuchi, Crosshair and Echo in terms of their fight against the Empire: Riyo Chuchi is Selene because she is a senator and her high status means she is at the sky domain (the Galactic Senate); Crosshair is Artemis because his rebellion starts in the wilderness of Barton IV; Echo is Hecate (who is a constant companion to Persephone, Echo’s anima) because he fights in the darkness and at the crossroads where he rescues Howzer and two of his men.

Zeus and Leto are parents to Artemis, who are both loving and approving of her course of life. Parental support is needed to cultivate the Artemis archetype from a young age. Opposition and disapproval from parents (mostly from the father) may damage the self-esteem and self-confidence of an Artemis person. They may continue to put on a defiant attitude, but deep down, they feel inadequate despite all the successes they have, and they have a tendency to self-sabotage. Conflict usually arises between the mother and the daughter, especially if the mother is a Demeter archetype. A Demeter mother prefers a compliant good girl like Persephone, who will follow her, ask for her help, and accept that “mother knows best”. However, Artemis is the opposite to Persephone for she is independent and stubborn, which can lead to disappointment and feelings of rejection within the Demeter mother.

The conflict between Demeter and Artemis can be seen between Hunter and Crosshair. Hunter has the Zeus and Demeter archetypes. As Zeus, Hunter recognizes Crosshair’s talent and encourages him to develop it further. Though, his Demeter anima likely causes Hunter to limit Crosshair and stop him from doing certain things. Nevertheless, Crosshair’s stubbornness will get in the way, leading to arguments between the two. In “Aftermath”, Crosshair keeps shooting at Caleb Dume despite Hunter repeatedly telling him to stand down. They later have an argument about following orders. In “Return to Kamino”, Hunter refuses to accept that Crosshair willingly chooses to join the Empire, and decides to forcibly take him away after stunning him. In “Kamino Lost”, Hunter keeps trying to reason with Crosshair about the Empire’s atrocities but to no avail. Crosshair feels that Hunter is trying to control and limit him, deciding what is best for him because Hunter has the mindset that “he knows best”. The more Hunter tries to control Crosshair, the more Crosshair will rebel. This is why he stands his ground and refuses to rejoin the Bad Batch.

Another problem faced by the Demeter mother-Artemis daughter involves a weak, passive mother. The mother may be depressed, an alcoholic, trapped in a bad marriage, or immature, which causes the daughter to take on the parent role. The daughter is disappointed that she does not have a strong mother, and that she is not strong enough to change her mother’s life (unlike the goddess Artemis who was able to help her mother Leto). Determined not to resemble her mother, the Artemis daughter refuses to show her vulnerability and dependency, and she usually rejects what are traditionally feminine like softness, gentleness and receptivity. Crosshair faces this issue when he sees Hunter has failed in his leadership skills or has let his feelings getting in the way. In “Aftermath”, when Hunter refuses to execute Saw Gerrera and his people, Crosshair begins to see Hunter as unfit to lead the squad, and he wants to take over. Crosshair even demands Hunter to explain when he has become soft as he disobeys orders to save Omega, which indicates Crosshair’s contempt for softness and vulnerability. In “Kamino Lost”, Crosshair accuses Hunter that his failed leadership is going to lead them to their deaths, and he expresses his disapproval to let Omega calling the shots because she is a child.

Like Artemis, Crosshair is a natural competitor who is willing to push himself to the limit to achieve his goals. He likes to be challenged, which is seen in the Hyperspace Stories #10. In this comic, the Bad Batch is sent to Hylanth for a mission to investigate battle droids. Crosshair thinks that this mission can be carried out by the regular clone troopers, and the apparent lack of challenge frustrates him. After Tech explains that these battle droids have been modified, Crosshair says that “maybe there is hope for this mission yet” as he feels motivated to take on the challenge. Even if the goal does not guarantee success or it can cause him to become distant from others, Crosshair still chooses to continue his pursuit because he finds personal fulfilment with it. Since Crosshair finds his role as a soldier personally fulfilling, he chooses to stay with the Empire despite facing disapproval from the Bad Batch. Many Artemis people take up sports, especially in marathons and skiing which require a combination of goal focus, will, intensity and competitiveness. They move forward without any hesitation, undeterred by any challenges ahead. We have seen Crosshair expertly slides across floors or down snow slopes in “A Distant Echo” and “Aftermath”, which is a trait of his Artemis anima.

Most Artemis people, especially in their early adulthood, are engrossed in their work or causes. Marriage and childbearing are often far from their minds, or they outright reject them. Though, they like children and are extremely protective of children, like a mother bear who ferociously protects her young. They also prefer to foster independence in children. There are headcanons that Crosshair is not interested in getting married and having children, or he is alright with marriage but chooses to be childfree. These are traits of his Artemis anima. Moreover, Crosshair is not much of a parental figure in the beginning possibly because he views Omega as a dependent, passive child, which is not ideal for an Artemis person. However, as Omega becomes more independent, active and assertive, it is possible for Crosshair to become protective of her while encouraging her to be independent.

A relationship with an Artemis person, be it platonic or romantic, usually resembles the sibling relationship, friendly rivals or the Artemis-Apollo twinship. Their desire to maintain independence in a relationship means they are not drawn to dominating partners and they are not interested in playing the parental role. Their partner is usually their equal with shared or complementary interests, or is the one who nurtures them like teaching them to be more considerate and sensitive. If the Artemis person and their partner are both competitive, they must be careful not to let their competitive nature kill off their relationship, which parallels the myth of Artemis and Orion, where Orion was killed due to Artemis being goaded to take on Apollo’s challenge. Some people do view Crosshair as a person who will treat his partner as his equal instead of dominating them (which is associated with his Poseidon archetype), and his partner is usually as competitive as him, or a nurturing person who opens him up. Crosshair has a strong connection with the Bad Batch, and he is shown to share a friendly competition with Wrecker during the Clone Wars. I interpret Crosshair and Tech having the Artemis-Apollo twinship due to both of them being similar yet different from each other. Crosshair mostly has a brother-sister dynamic with Omega, who usually helps him to be more considerate and sensitive to his feelings.

In the myths, Artemis never suffered but she did bring harm to those who offended her. Similarly, people who identify themselves strongly as Artemis usually cause others to suffer rather than hurting themselves. If an Artemis person is raised to look down on traditionally feminine values, she may develop a contempt for vulnerability and dependency. Her relationships with others are marked with emotional distance and the usual physical unavailability. She may lose interest once her partner wants to get close to her emotionally, or becomes dependent on her, which are seen as “weaknesses” to her. She may even be cruel to her loved ones, treating them as unwanted intruders. Hence, it is important for an Artemis person to realize the importance of love and trust of a special person.

In “Aftermath”, Crosshair expresses his contempt for vulnerability upon seeing Hunter disobeying orders to save Omega. He also dislikes Omega trying to get close to him. It is likely that his inhibitor chip has affected him – possibly strengthening his Artemis anima to the point of becoming cold and cruel. However, he still retains the same contempt for vulnerability even without the influence of the inhibitor chip. In “Return to Kamino”, Crosshair tries to take Omega away from the Bad Batch and he tells Hunter to stop pretending to be a father figure to her because “that is not who he is”. In “Kamino Lost”, Omega tries to connect with Crosshair but he pushes her away again. Fortunately, Crosshair overcomes his contempt for vulnerability after receiving the love and trust from Commander Mayday in “The Outpost”.

Artemis has been called “the Far-Distant Artemis”, and this archetype is marked with emotional distance. This means Artemis people can become so focused on their own goals that they fail to notice the feelings of other people and can get offended by those who interrupt their focus. Their lack of attentiveness can make people who care about them feel insignificant and excluded. To grow beyond this archetype, Artemis people must learn to pay attention to others and be a good listener. They must also remain in touch and accessible to those who care about them.

When Order 66 happens, Crosshair’s inhibitor chip is somewhat activated. He becomes adamant of following orders, which leads to conflict between him and the rest of the Bad Batch (especially Hunter). He does not understand why they choose to disobey orders, and he even sighs in frustration when Hunter tells him to stand down in “Aftermath” as if Hunter is interrupting his focus to carry out the order. When Crosshair joins the Empire, he becomes “inaccessible” to the Bad Batch. In “Return to Kamino” and “Kamino Lost”, Crosshair reveals that he already has his inhibitor chip removed and that he willingly joins the Empire. This realization hurts the Bad Batch because it means that Crosshair chooses not to come back in his own volition because he prioritizes his role as a soldier of the Empire. Although Crosshair remains mostly closed-off from other clones, Commander Cody’s advice does affect him in “The Solitary Clone”. Later, in “The Outpost”, Commander Mayday helps Crosshair to open up and become more accessible to him.

Artemis is known to be merciless. In one myth, the hunter Actaeon accidentally saw Artemis and her nymphs bathing in a hidden pool. The goddess turned him into a stag and he was later torn to pieces by his own hounds. In another myth, Niobe insulted Leto by bragging that she had many sons and daughters, unlike Leto who only had two. Leto called on Artemis and Apollo to avenge her without mercy. With their bows and arrows, Apollo killed Niobe’s six sons while Artemis killed Niobe’s six daughters, and Niobe was turned into a weeping pillar of stone.

People who strongly identify as Artemis are extremely loyal to others, tend to get angry at injustice, unafraid to express their point of view, and have a tendency to take action. These are positive traits of Artemis, but there is also a tendency to mercilessly judge the actions of others in an absolute black and white. From this perspective, not just an action is either entirely bad or entirely good, but the person who does the action is also either all bad or all good. With that, an Artemis person feels justified to retaliate or punish the person.

Crosshair is extremely loyal to the Bad Batch. However, when they leave him behind on Kamino, he feels betrayed and view them as bad people. In “Reunion”, Crosshair is determined to hunt the Bad Batch down as they have been branded as traitors to the Empire. In “Return to Kamino”, Crosshair offers the Bad Batch to join the Empire, but they refuse, which from his perspective, makes them all bad people. That is why he tells them not to make the same mistake twice and not to become his enemy. In “Kamino Lost”, Crosshair views Hunter as a bad leader because he has caused the Bad Batch to disobey orders, run away from the Empire and now they are trapped under Tipoca City that is sinking to the ocean floor. In “The Solitary Clone”, Crosshair calls the clones who are questioning orders as traitors like the Jedi because from his perspective, a good soldier follows orders without question, and even a slight tendency to question orders is considered an entirely bad thing, and it makes the soldier a completely bad person.

It is important for an Artemis person to develop compassion and empathy, which may come with maturity and experience. Many Artemis people enter adulthood feeling self-confident and invulnerable. However, after going through suffering, being misjudged or failing at something, they may grow to become more compassionate. They will learn to be more merciful as they learn what it is like to be vulnerable and become more understanding, they realize that people are more complex than they think, and they learn to forgive themselves and others for making mistakes.

Crosshair has always felt confident and invulnerable. He does not believe that he would be replaced by the Empire because of his superiority. He turns a blind eye at the regular clone troopers, who are feeling the plight of being forced into “retirement”. However, that all changes when Crosshair goes through suffering in “The Outpost”. He learns how to be vulnerable to Mayday, which makes him more understanding and compassionate towards the regular clone trooper. This helps Crosshair to become more mature, and realize that the Empire does not care about the clones, including him. Hopefully, Crosshair can learn to forgive himself for making the mistake of joining the Empire and disappointing the Bad Batch.

The goddess Artemis is known for her destructive aspect that is symbolized by the wild boar, one of the animals sacred to her. In Greek mythology, Artemis sent the Calydonian Boar to terrorize the countryside of Calydon because King Oeneus had failed to honour her in his rites to the gods. The Calydonian Boar was described to have burning, bloodshot eyes, thick bristles that stood like sharp spikes, hide tougher than armour, and tusks similar to those of Indian elephants. It trampled vineyards and crops, drove away flocks and herds of animals, and killed many heroes who had tried to bring it down. This rampaging destruction serves as a metaphor for an Artemis person on a warpath.

The rage of Artemis is surpassed only by that of Hera. Although both goddesses appear to share the same intense feelings, the provocation and the direction of the anger are different. A Hera person directs their rage at “the other woman”, while an Artemis person directs their rage at people (mostly men) for depreciating them or for disrespecting something they value. The rage of Artemis can be observed in people reacting to injustice with intense hostility that is often out of proportion to the particular provocation, which leads to a rampage similar to the Calydonian Boar, hurting themselves and many like-minded people along the way.

After the Bad Batch leaves Crosshair behind, he is greatly offended by their betrayal and for throwing away their legacy. He hunts them down as if he is like Artemis on a warpath. His rampage causes injuries to himself and his troops. In “The Outpost”, Crosshair is furious that Lieutenant Nolan refuses to provide medical aid to Mayday because “they should not waste the Empire’s resources on a clone”, resulting in his death. Crosshair reacts to the injustice with intense hostility and he shoots Lieutenant Nolan, instantly killing him. However, Crosshair’s action causes him to end up on Mount Tantiss, where he gets experimented and tortured by Dr. Hemlock.

In the myth of the Calydonian Boar, the huntress Atalanta faced the charging boar with a bow and an arrow, or in some versions, a spear. She waited until the boar was almost on her, took careful aim, and then shot the arrow or threw the spear through an eye, which was its only vulnerable spot. Her action successfully wounded the boar. According to Jean Shinoda Bolen, the destructive rage of an Artemis person can only be stopped by what Atalanta did in this myth. The Artemis person must take courage to confront their own destructiveness directly. They must see it as an aspect of themselves that must be stopped before it consumes them and devastates their relationships. They can no longer feel righteous and powerful when they realize how much damage they have done to themselves and others. Humility is what returns their humanity as they become aware that they are flawed humans, not an avenging goddess.

When Crosshair gets angry, he reacts by taking action. However, his actions sometimes hurt himself and others. For example, his decision to hunt the Bad Batch down because he feels betrayed by them worsens the rift between them. By killing Lieutenant Nolan to avenge Mayday’s death, Crosshair ends up being imprisoned on Mount Tantiss and is subjected to experimentation and torture. It is important for Crosshair to realize how destructive his rage is, and how it hurts him and others. He must learn not to let his rage consumes him, and instead become aware that he too is a flawed person.

The myth of Iphigenia depicted the crucial choice an Artemis person would make in their lives. In this story of the Trojan War, the Greek ships had been assembled to set sail for Troy, but no winds arose to fill the sails and carry the fleet to war. Agamemnon, the leader of the Greeks, believed that it was the doing of a god, so he consulted the expedition’s seer. The seer explained that Agamemnon had offended the goddess Artemis on his way to the Trojan War by hunting and killing one of her sacred stags, and she punished him by withholding the winds. The seer stated that the goddess could only be appeased by the sacrifice of Agamemnon’s daughter Iphigenia. At first, Agamemnon resisted, but as pressure from his troops mounted, he tricked his wife Clytemnestra into sending Iphigenia to him, on the pretext that she was to be married to the Greek hero Achilles. Instead, she was prepared for the human sacrifice in exchange for the winds. There were two types of endings for this myth. One version stated that the death of Iphigenia was carried out as demanded by Artemis. In the alternate version, Artemis interceded just at the point of sacrifice, substituting a stag in her place, and carried her off to Tauris, where she became one of Artemis’s priestesses.

Jean Shinoda Bolen interprets these two endings as the possible effects of the Artemis archetype. She believes that every Artemis person likely has certain traits of Iphigenia — young, trusting, vulnerable, receptive, nurturing, the ability to relate to others, the ability to be intimate with others, dependent on others, and the willingness to make sacrifices for the sake of others. On one hand, the Artemis archetype rescues these traditionally feminine values from the devaluation and oppression of the patriarchy, like Artemis rescuing Iphigenia. On the other hand, the Artemis archetype makes a person so intensely focused on their goals that they sacrifice and devalue these traditionally feminine values, like Iphigenia was sacrificed to appease Artemis so the winds could bring the Greek fleet to war.

With that, an Artemis person is faced with a crucial choice: Will they rescue and protect this Iphigenia part of themselves so that it can grow even as they continue with their life and pursue their goals? Or will they be required to kill this Iphigenia part of themselves in order to be as focused, hard and clear as possible?

The myth of Iphigenia is depicted in “Kamino Lost”. Omega represents Iphigenia for she is young, receptive, vulnerable and dependent on others. Hunter also represents some traits of Iphigenia for he is nurturing and he cares deeply for Omega. These values are deemed as traditionally feminine. In this episode, Omega is unwilling to lose AZI so she swims after the droid. Hunter wants to enter the water to save Omega because she is about to drown. At this moment, Crosshair pulls out his rifle and it seems like he is aiming at Hunter, which is why Wrecker, Tech and Echo point their blasters at him. This scene seems to depict the possibility of Crosshair choosing to “sacrifice Iphigenia”, which is “to eliminate Hunter and let Omega drown”. After all, the episode has shown that Crosshair still has conflicts with Hunter and he continues to push Omega away, which can be interpreted as Crosshair devaluing these traditionally feminine values in favour of the Empire and his soldier’s duty.

When it seems that Hunter is in danger and Omega is about to drown, Crosshair is actually aiming at the water and he shoots a grapple that latches onto AZI, allowing him to pull Omega and the droid to the surface. Crosshair’s action to save Omega’s life represents his Artemis anima choosing to “save Iphigenia”, which can be interpreted as Crosshair rescuing and protecting these traditionally feminine values. His action indicates that there is still good in him, and that he can be vulnerable, receptive and nurturing. 

To grow beyond the Artemis archetype, one must learn to become vulnerable, to love and care deeply about another person. This usually happens after the Artemis person has “run down”, after they have achieved or failed their goals, or after the pursuit has gone stale. The people who care about the Artemis person may have to wait, or they can get some help from Aphrodite.

The Atalanta myth serves a metaphor for the psychological growth that an Artemis person may go through. Atalanta was a huntress and runner whose courage and capabilities were equal to any man’s. She was left on a mountaintop to die by her father soon she was born. She was then saved by a bear and raised by hunters. She grew up to be a beautiful woman and she devoted herself to the goddess Artemis. A famous hunter named Meleager became her lover and companion. They played an important part in the Calydonian boar hunt where Atalanta successfully wounded the boar and Meleager finished it off. Since Atalanta had drawn first blood, Meleager offered the boar skin to her as a prize. However, Meleager’s uncles, who had been hunting with them, thought it was disgraceful that a woman should get the trophy where men were involved. They tried to take the skin for themselves and claimed the credit for killing the boar. Meleager was outraged by this and he killed them, which then resulted in his mother killing him shortly thereafter.

Atalanta then left the wilderness, and was eventually reunited with her father. Her father recognized her as heir to his throne, and insisted that she should get married, which was something she was not interested of. Many suitors came to win her hand, and she rejected them all. As her suitors became more persistent, she came up with a challenge for them: she would marry the man who could beat her at a footrace, but he would lose his life if he lost the race. Race after race, Atalanta was always in the lead. Finally, the unathletic Hippomenes, who truly loved her, entered the race. He prayed to Aphrodite, the Goddess of Love and Beauty, for help at the night before the race, and she gave him three golden apples to use in the race. During the race, Hippomenes threw the three golden apples in Atalanta’s path three times, which managed to distract her long enough for him to cross the finish line first and take her as his wife.

The Atalanta myth, or more specifically the deadly footrace, is played out in “The Outpost”, and it helps Crosshair to grow beyond his one-sided Artemis anima and achieve wholeness. There are no official explanations as to why Atalanta is distracted by the three golden apples, but Jean Shinoda Bolen provides her own interpretations for the three golden apples, which surprisingly match Crosshair’s character arc in “The Outpost”.

When Hippomenes threw the first golden apple and Atalanta went to take it, she saw her own face distorted by the curves of the apple. The first golden apple is interpreted to have given her the awareness of time passing. Many Artemis people are unaware of time passing until their desire to take up challenges or to reach their goals dwindle. They may become aware that they are not going to be eternally youthful and start reflecting about their course of life. At the beginning of “The Outpost”, Crosshair observes three clone troopers protesting their “forced retirement” due to the Defense Recruitment Bill has been passed by the Senate. Upon arriving at the outpost, Crosshair meets Commander Mayday, who has been guarding the cargo held in the outpost for a year, and has been expecting reinforcements 36 rotations ago. By witnessing the clones being forced into retirement and realizing that a year has passed since the formation of the Empire, Crosshair becomes aware of time passing, and that soon enough, he would be replaced by Stormtroopers, as it is the fate of all clones.

When Hippomenes threw the second golden apple, Atalanta went to retrieve it, and memories of her dead lover Meleager took over her. The second golden apple is interpreted to raise awareness of the importance of love. As yearnings for physical and emotional closeness are stirred by Aphrodite, an Artemis person may become more receptive to love and intimacy, and this feeling is strengthened by the awareness of time passing.

As Commander Mayday gives Crosshair a tour of the depot and its surroundings, he explains that they have been attacked by raiders who have caught them off guard in the last few raids. Mayday believes that the polar conditions have degraded the sensors, which may explain how the raiders get past them. To make matters worse, he is not receiving any replacements from the Empire. At this moment, Crosshair probably starts to recall memories of Hunter and Tech. Hunter would have been able to detect the raiders quickly thanks to his enhanced senses, and Tech would have upgraded the sensors to make it difficult for raiders to get past.

When Crosshair steps on a pressure mine, Mayday goes ahead to disarm it despite he is not an explosive expert and that he does not have the proper equipment to do so. However, he is able to improvise with the tools he has. At this moment, Crosshair probably starts to recall memories of Wrecker. Wrecker is an explosive expert, and he would have the proper equipment to disarm the pressure mine with ease. While Mayday disarms the mine, he asks Crosshair about his unit. This prompts Crosshair to mention that he was part of Clone Force 99, but they are gone. As he recalls the memories of his former squad, he probably begins to yearn for their presence and support. He probably starts to yearn for physical and emotional closeness, which is why he becomes closer to Mayday.

As Atalanta was about to pass Hippomenes and win the race, he dropped the third golden apple. For a split second, she hesitated: should she cross the finish line and win the race, or take the apple and lose? She chose to reach for the apple just as Hippomenes crossed the finish line, winning the race and her for his wife. The third golden apple represents procreative instincts and creativity, which are associated with Aphrodite. In life, there may come a time where achievements become less important to the Artemis person. They may shift their focus to other things like settling down and having a family, or transforming their experiences into some form of personal expression. They start to follow their heart more.

Crosshair and Mayday are sent to retrieve the cargo stolen by raiders. They are successful but they get caught in an avalanche. Crosshair digs himself out of the snow and finds Mayday injured. Mayday tells Crosshair to go because he is not going to make it. Crosshair now must make a choice: should he complete the mission and leave Mayday to die, just like he has said earlier, “no point of carrying deadweight”? Or should he abandon the mission and save Mayday’s life? Just like Atalanta gives up winning for Hippomenes, Crosshair gives up the mission for Mayday. Crosshair is well-aware that he will be reprimanded for not completing the mission, and his icy-cold reputation will certainly be tarnished. However, as he starts following his own heart, his brotherly love for Mayday wins over his ego and his tendency to follow orders.

Jean Shinoda Bolen believes that the knowledge of Aphrodite can be brought through the love of another person, which can help an Artemis person to move beyond the one-sidedness of this archetype and achieve wholeness. The Artemis person can turn inward to reflect on what is important to them, and be inner-directed as well as outer-focused. They may realize their needs for intimacy as well as for independence. Once they embrace love, they will have moments to decide for themselves what is most important.

In “The Solitary Clone”, Crosshair begins to turn inward to reflect on what is important to him after Commander Cody tells him that they make their own decisions and choices, and they have to live with them too. Crosshair’s brotherly love for Mayday is what pushes him further to turn inward for reflection. From here, he decides that his loyalty to his brothers (and his sister Omega) and his protectiveness towards them mean the most to him. With the Empire not seeing eye to eye with him, Crosshair finally turns against the Empire.

Besides Artemis, Hera is another prominent archetype in Crosshair’s anima. Hera, or Juno as the Romans called her, is the Goddess of Marriage. She is the wife of Zeus (or Jupiter by the Romans), the chief god of the Olympians, who rules over the heavens and earth in Greek mythology. Her name is thought to mean “Great Lady”, which is the feminine form of the Greek word “hero”. Her symbols are the cow, the cuckoo, the Milky Way, the lily, and the peacock (and its iridescent tailfeather “eyes” that symbolized Hera’s watchfulness). Hera has two contrasting aspects: she is greatly revered and worshipped in rituals as a powerful goddess of marriage, and she is depicted as a vindictive, quarrelsome, jealous shrew due to Zeus’s infidelity.

In her rituals, Hera had three epithets and three corresponding sanctuaries where she was worshipped during the year. In the spring, she was Hera Parthenos (Hera the Maiden or the Virgin). She was celebrated as Hera Teleia in the summer and autumn (Hera the Perfected One or the Fulfilled One), and became Hera Chera (Hera the Widow) in the winter. These three aspects of Hera represented the three states of a married person’s life (or more specifically, a woman’s life in Ancient Greece): in spring, they were single; in summer, they felt completed through a wedding; in winter, they grieved at the end of their marriage due to separation or death of their partner.

Hera is the wife archetype that prompts a person to get involved in a committed relationship and to get married. People who identify strongly as Hera view marriage as a way to gain prestige, respect and honour. They want to be recognized as “someone important”, and they seek out outer acknowledgement by having a large wedding ceremony. They find joy, fulfilment and completeness in marriage, in which they see it as sacred. Just like Hera is married to Zeus, people who identify with the Hera archetype are attracted to competent, successful people like rulers, businessmen or politicians. They are usually not into artists, scholars or humanitarians. Their choice in partners comes from their view of marriage as something that provides comfort and security to their lives. Besides that, some Hera people may view marriage as a way out of a bad situation, especially if their parents resemble Hera’s parents Cronos and Rhea – a patriarchal, dominating father and a powerless mother.

There are many headcanons that Crosshair enjoys security and comfort in his life, which are granted by the Republic’s support. The Republic provides necessities to all the clone troopers such as food, shelter, payment, weapons, training and transport. With that, Crosshair may feel ease to do other things. Many fans agree that Crosshair is the most fashionable of the Bad Batch, and he likes to wear jewellery. He may indulge in the best fabrics for comfort like wearing a pair of sleepwear and/or eye mask that are made of silk. He likely cares about his appearance greatly, which leads to a headcanon that he uses a loofah (suggested by a fan) or a pumice stone (suggested by the person running the Star Wars twitter account) during showers for he cares about his skin. These headcanons evoke the imagery of the Hera archetype in Crosshair – pompous, feelings of superiority and likes attention – basically, a prima donna. He probably gets jealous at Omega because she captures all the attention of the Bad Batch in “Aftermath”.

There are also headcanons that Crosshair likes to indulge the Bad Batch like bringing them to the best restaurants on a planet, buying things they like, or crafting things for them. The writers have come up with a headcanon that Crosshair is the one who creates Lula for Wrecker. I also have a headcanon that Crosshair creates Lula after the Hyperspace Stories #10 because Wrecker has lost the stuffed toy and Crosshair wants to cheer him up. I can imagine Crosshair buying something delicious for Wrecker to eat, getting the best equipment for Tech, and choosing the most comfortable fabric for Hunter to wear as a casual outfit. In “Aftermath”, Crosshair is shown to desire orderliness and cleanliness as he complains about the smell getting worse in the squad’s barracks, and that his bed is spotless and tidy (even his blacks are folded neatly). I have this headcanon that Crosshair is mainly responsible for the orderliness and cleanliness of the Marauder, and that Echo’s arrival has helped to ease most of his burdens. For example, Crosshair makes sure the floors of the Marauder are clean of dirt, dust, mud and food crumbs. He makes sure the lights and ventilation are working properly. He washes their blacks regularly and keeps a tab on their toiletries. He does all of these for everyone’s comfort, including himself.

I have seen people shipping Crosshair with a character that is of a higher status than him like a Jedi, a senator, or a politician, which kind of evokes the imagery of Hera and Zeus. There are many romantic headcanons for Crosshair that evoke the Hera archetype, for example, he buys something that his partner yearns to have regardless of the price, or he creates something for his partner to show his love and devotion. People who identify as Hera tend to share the same friend group and interests with their partner, even when they initially do not like them. It is a general headcanon that Crosshair will reluctantly do an activity with his partner because he prioritizes his partner’s needs and wants over his, which is a Hera trait. I have seen one headcanon that Crosshair is willing to give his partner children if his partner wants them, which is also a trait of the Hera archetype.

People who identify strongly as Hera find fulfilment in playing the role of a housewife or a househusband. They can take care of everything in the house while their partner is away for work. Since Crosshair has some traits of the Hera archetype, it is possible for him to play the role of a househusband well. Imagine yourself coming back home from a long, tiring day of work, and you find that Crosshair has cleaned the entire house, done the laundry, cooked your favourite meal, prepared a bubble bath for you, and planned to give you a body massage to help you relax before you go to sleep. Basically, Crosshair can be a devoted partner that pampers and spoils you, making you feel that you are the most important person in his universe.

The Hera archetype grants a person the capacity for commitment. They are loyal and faithful to their partner, and they are willing to endure and go through difficulties with their partner. They are the ones who stay “for better or worse”, and they are willing to drop everything for their partner. Loyalty means everything to the clones, and Crosshair takes it very seriously. Crosshair is extremely loyal to the Bad Batch, and he will do anything for them. In “The Bad Batch”, when Rex takes charge of the mission after Cody is injured, Crosshair sees it as Rex challenging Clone Force 99 for authority, or more specifically, challenging Hunter’s leadership role. This causes Crosshair to defend Hunter and Clone Force 99 by pointing out that Cody has called them in to help Rex, so Rex has no right to challenge their authority. This scene evokes an image of a Hera person fiercely defending their partner. I can imagine Crosshair leaving the last ration bar for Wrecker, placing a warm blanket on Tech when he has fallen asleep on his desk, and giving Hunter a hug upon seeing how work has overwhelmed him. Crosshair always gives his best to his loved ones, and puts their needs above his.

In Greek mythology, Zeus got close to Hera by turning himself into a shivering little bird. Hera took pity of the bird and brought it close to her body to warm it up. Then, Zeus revealed himself as the chief god and made a promise to marry her, in which she accepted. People who identify strongly as Hera may find themselves attracted to powerful and successful people that are also emotionally immature like Zeus. This emotional immaturity is what makes a Hera person to view them as “a poor little creature in need of Hera’s warmth and protection”. This caring trait of Hera can be seen in Crosshair. Although Crosshair can get annoyed at Wrecker’s antics (even telling him to “grow up”), his complaints are never taken seriously by anyone. In “The Bad Batch”, when Jesse defends Rex from Crosshair, Wrecker grabs and lifts him by the throat. Crosshair then defends Wrecker by warning Kix to stay out of it and fights him. This shows that Crosshair is not just protective of Wrecker, he is also enabling Wrecker’s impulsiveness. In “Aftermath”, Crosshair complains about the smell in their barracks and he does not like their laziness on cleaning up the mess. Yet, his complaints are treated as passing comments, and he does not try to change the Bad Batch. He probably grumbles while cleaning up the mess they have created, as if he is just tolerating their bad habits. The Bad Batch probably even sees it as a hobby for Crosshair that is not sharpshooting. Just like how Hera views Zeus in his poor little bird form, it is possible that Crosshair views Hunter, Tech and Wrecker as “poor little boys” in need of his warmth and protection. He feels the need to fiercely defend them from criticisms and insults, and he does not feel the need to change them at all, even if their antics do annoy him.

When the goddess Hera was worshipped in Greek temples and the marriage of Zeus and Hera was ritually enacted, Zeus was called Zeus Teleios, which meant “Zeus, Bringer to Fulfilment”. With that, a Hera person unconsciously places an archetypal expectation of fulfilment on their partner, with the assumption that they will be transformed by marriage. This tendency to project an image of an idealized partner onto a person can usually lead to disappointment, criticism and anger from the Hera person, causing them to urge their partner to change.

To a Hera person, a happy marriage means that their partner is devoted to them, placing their marriage first, and appreciating them as their wife or husband. However, a Hera person is usually drawn to people like Zeus, who are devoted to their careers. A Zeus person usually uses marriage to boost their social image by marrying someone from the same class or higher than his, and they can appear side by side in public. This type of marriage is a personal disaster for a Hera person due to their partner’s lack of involvement and concern of her. Yet, no matter how dissatisfied the Hera person feels about the marriage, they are the least likely to seek divorce and instead, they choose to bury their feelings by putting on the image of a perfect couple.

People who identify strongly as Hera have a tendency to place their relationship with their partner above everything else. They believe in marital promises of eternal devotion and they are willing to make sacrifices for their partner. They can give up their education to be a full-time wife or husband for their partner, get a job to support their partner, or relocate to another town or country if their partner wants to move. Hera people usually do not maintain family ties and friendships made before marriage. They are usually not close with their own children since they tend to prioritize their partner over their children. They also do not maintain their own interests prior to marriage. They instead make themselves conform to their partner’s life, interests and friends. These constraints can lead to problems for a Hera person, and they are made worse if their partners do not give them support to grow beyond the Hera archetype.

The Hera archetype can be such an overwhelming force that it oppresses people, and it turns people into oppressors. This archetype may make an unmarried person feel incomplete and they may end up in a bad marriage. This archetype may also cause a married person to stay in a bad marriage no matter how damaging it is to them. They may constantly nag at their partner for failing to live up to the image of Zeus who fulfils, or they may become enraged and jealous if their partner is unfaithful – be it in a factual or an imaginary scenario.

Whenever Zeus cheats on Hera, the goddess does not channel her rage towards her husband. Instead, she channels her destructive and vindictive rage at the other women (e.g. Callisto, Io, Leto, Aegina), at children conceived by Zeus with other women (e.g. Heracles, Dionysus), or at innocent bystanders (e.g. Echo). Just like the goddess, Hera people tend to judge and punish other people by excluding or ostracizing them and their children, all because they do not meet Hera’s standards. Hera people are judgemental towards people who are unmarried, sensual, or divorced because they are seen as “a threat” that can attract their married partner. Hera people are also judgemental towards people who are not personally threatening like unmarried mothers on welfare.

These disappointed expectations, constraints and judgmental attitude from the Hera archetype can be seen in Crosshair. In “Aftermath”, Crosshair does not see the difference between the Republic and the Empire because their roles as soldiers are being maintained. He expects the Bad Batch to stay as soldiers because that is what they are made for, and that is the only acceptable role for them. Besides that, Crosshair looks down on the regular clone troopers and does not like to work alongside with them because he sees himself and the Bad Batch as more superior than them. Of course, his decision to ostracize the regular clone troopers is also due to him and the Bad Batch are constantly bullied by the regs. When Omega approaches the Bad Batch and sits with them, Crosshair is not welcoming towards her. He sees her as a child, and that she should not hang out with soldiers like them.

Crosshair becomes extremely disappointed at Hunter when he chooses to disobey orders and he starts to prioritize Omega’s safety. To him, good soldiers should follow orders, and Hunter is breaking it. Crosshair’s bitterness towards the Bad Batch grows when they leave him on Kamino and they have taken Omega with them, giving the feeling that he has been replaced. Although he is furious at the Bad Batch, he does not channel his destructive rage towards them, even though the Bad Batch thinks that he is trying to kill them. Instead, he channels his destructive rage towards other people. In “Replacements”, Crosshair executes ES-01 for insubordination and he orders the rest of the Elite Squad Troopers to execute innocent civilians, in which the Bad Batch has failed to do so earlier. In “Reunion”, Crosshair dismisses the Bad Batch for scavenging like rats since they no longer have a stable financial support after deserting the Empire. For Crosshair, being a soldier is the only truly acceptable role for a clone trooper. The life of a mercenary or a bounty hunter is a definite “no” for him and for any clone trooper.

In “Return to Kamino”, Crosshair kills his own Elite Squad Troopers for refusing to stand down as he has ordered. He offers the Bad Batch to join the Empire to have a purpose again. Moreover, he tries to take Omega away from the Bad Batch, even telling Hunter to stop pretending to be a father figure to her, which in Crosshair’s eyes, is something Hunter is not. When the Bad Batch refuses Crosshair’s offer, he gets angry at them, warning them not to make the same mistakes twice and not to become his enemy. Despite witnessing and surviving the destruction of Tipoca City caused by the Empire, Crosshair still chooses to stay loyal to the Empire, and not even Hunter’s advice can get to him.

In “The Solitary Clone”, Crosshair is seen to be eating his meal alone as other regular clone troopers move away from him. It is true that regular clone troopers usually have issues with “defective” clones like Crosshair, but Crosshair’s tendency to limit himself to only the Bad Batch also now becomes a side effect as he is no longer with his former squad. He has nobody close to him in the Empire. Although Commander Cody is a close friend of Crosshair, his eventual desertion wounds Crosshair, causing him to further shut himself off. Furthermore, Crosshair still chooses to return to the Empire despite being stranded on Kamino for 32 rotations, claiming that he is a soldier of the Empire. Even though Crosshair later becomes aware that the Empire is not treating the clones well, he finds himself unable to desert the Empire and his role as a soldier, just like a Hera person finds themselves unable to leave an abusive relationship or marriage.

The Medea syndrome, which originates from the Greek mythology character Medea, describes the spurned woman, which is the negative Hera pattern. The Medea myth is a metaphor that describes the Hera woman’s capacity to put her commitment to a man ahead of everything else, and her capacity for revenge when she finds that her commitment counts for nothing in his eyes.

In the myth, Medea was the priestess and daughter of King Aeëtes of Colchis. The Golden Fleece belonged to the king, and Jason and the Argonauts sought it. Jason needed help to obtain the Golden Fleece as it was well-guarded, and that he needed to complete three seemingly impossible tasks given by the king in a single day. His patron goddesses, Hera and Athena, managed to persuade Aphrodite to make Medea fall in love with him and help him steal the Golden Fleece. Jason begged Medea to help him and promised that he would marry her. So, out of her love and loyalty to Jason, Medea helped him steal the fleece. By doing so, she betrayed her father and her country, and brought about her brother’s death. She fled with Jason, and they eventually settled in Corinth. They got married and had two young sons.

Since Medea was a foreigner, her position was similar to that of a common-law wife. Jason wanted a better life, so he decided to marry Glauce (or Creusa), the daughter of King Creon of Corinth. As a condition for the marriage, Jason agreed that Medea and their children would be exiled. Medea was enraged with Jason for breaking his vows, and she felt humiliated that all her sacrifices and crimes committed for him meant nothing to him. With that, she plotted and carried out her revenge.

First, Medea sent Glauce a gown and a golden coronet that were covered with poison as wedding gifts. Once Glauce put them on, she was burned to death. Her father tried to save her, but he was also burned to death. Then, Medea was in conflict between her love for her children and her desire for revenge. Ultimately, her desire for revenge won, and she murdered her children. When Jason learned of her vengeful plot, Medea fled to Athens in a golden chariot driven by dragons sent by her grandfather, the god of the sun Helios. Despite all the crimes Medea had done, she retained the favours of the gods. As for Jason, since he broke his oath to love Medea forever, he lost favour with Hera and he died alone and unhappy. His story ended with a rotting prow of the Argo breaking off and crushing him in his sleep.

Literal reenactments of the Medea myth are rare, but they are quite common on a metaphoric level. When a person is influenced by Hera and Aphrodite like what happened to Medea, their instinct to mate and their passion for their loved one may cause them to put that relationship above everything. They may leave their family and friends, betray their own values, and cut off any ties if necessary. They will not have any help or support if their partner behaves like Jason.

The Medea person may imagine or attempt to harm their partner’s lover. For example, “Medea” may spread lies to damage the reputation of the other woman or man. Moreover, the Medea person may attempt to destroy their children’s relationship to their partner. They may take the children away, or make efforts to drive their partner away from the children. They may even make their children hate their other parent. It is worth noting that Medea did not murder Jason in the myth. Similarly, the hostile, spurned Hera often harms other people more than the partner who left them.

Crosshair shows his Hera’s destructive rage and the Medea syndrome in “Return to Kamino” and “Kamino Lost”. When Hunter says that they are loyal to each other and not the Empire, Crosshair counters that Hunter is not loyal to him and he has not forgotten that time the Bad Batch left him behind on Kamino. Crosshair is also bitter that the Bad Batch has thrown away their legacy. I have seen headcanons that Crosshair is willing to make tremendous sacrifices for his squad, which aligns with Hera’s capacity for commitment. When the Bad Batch leaves him behind, Crosshair must have felt that all of his devotion and sacrifices mean nothing to his squad. This incident leads him to take on the hostile, spurned Hera archetype.

Furthermore, Crosshair tries to take Omega away from Hunter and send her on a shuttle off-world. Hunter pleads with Crosshair not to do it because Omega belongs with the Bad Batch. However, Crosshair says that Omega is in constant danger from living among fugitives like the Bad Batch, and he is doing this for her own good and for the Bad Batch too. Crosshair even tells Hunter to let go of Omega and stop pretending to be something that he is not – a father figure to the child. This argument evokes the metaphoric reenactment of Medea and Jason, where Crosshair is the “Medea” that threatens to take the child Omega away from Hunter the “Jason”. True to Hera’s destructive rage, Crosshair has no intention of killing the Bad Batch despite their alleged treason and their disloyalty towards him. Instead, he kills his Elite Squad Troopers for refusing to stand down.

To grow beyond the Hera archetype, one must recognize Hera’s influence and understand the susceptibilities of this archetype. It is crucial for a Hera person to expand beyond the Hera archetype. They must realize that this archetype at best limits them, and at worst is destructive to them. They must consciously develop other archetypes, which can enrich their life and marriage, and give them the ability to adapt if death or divorce brings the marriage to an end.

Besides that, a Hera person should view marriage as a growth experience instead of an expectation of fulfilment. An insecure Hera person is highly susceptible to jealousy, and they can easily suspect infidelity or feel humiliated by their partner’s inattention. They may alienate their partner with accusations or make their partner be more aware of the effects of their indifferences. Their partner may learn to respond to the Hera person’s needs with compassion. The Hera person must repeatedly decide whom to trust – the suspicious Hera within or their partner. To grow, they must resist Hera and give their partner credit for support and fidelity.

In the myths, Hera has two sons – Ares, the God of War, and Hephaestus, the God of the Forge. Hera favoured Ares, and “like mother, like son”, Ares’s uncontrollable fury on the battlefield mirrored Hera’s uncontrollable vindictiveness. When a Hera person struggles with their vindictiveness and rage, they can transform their rage and pain into creative work by following the example of Hephaestus, whose wife Aphrodite was repeatedly unfaithful to him. Any kind of work, be it mental or manual, can help the Hera person to channel their rage in a healthy manner instead of being consumed and destroyed by it. Crosshair is close to Wrecker, who has a strong Ares archetype. Like Hera and Ares, they both express their rage directly, which is evident in “The Bad Batch” where Wrecker and Crosshair get into a fight with Jesse and Kix. Since Echo has a strong Hephaestus archetype, Crosshair can learn from Echo to channel his rage in a healthy manner.

It is normal for any person to grasp the loss once their partner has left them. For a Hera person, they are likely to believe that their partner will miss them and come back, just like that myth about Zeus and Hera’s reconciliation. In this myth, after a quarrel with Zeus, Hera left him and retreated to the island of Euboea, and there was nothing Zeus could say to change her mind. King Cithaeron then advised Zeus to stir her jealousy by announcing that he was about to marry Plataea, the daughter of Asopus. Then, Zeus arranged a mock wedding ceremony with a wooden statue of a woman that was wrapped up in a dress. Once Hera heard the news, she stormed into the wedding and tore away the dress from the figure, only to discover that it was a lifeless statue. Hera was amused by this prank, and she and Zeus reconciled and returned to Mount Olympus.

This myth provides several psychological elements for a possible reconciliation to occur. Firstly, Hera let go of more than her husband Zeus. She also let go of her hopes that he would change, and let go of the role of victimized, vindictive Hera. After Hera left, Zeus discovered that she was truly important to him. Zeus set up the mock wedding ceremony with a wooden statue to convey the message that each of his affairs had been a symbol to him (like the statue) rather than an important relationship. Hera was amused by it because she finally recognized that no other woman really had mattered to him all along, leading to a reconciliation. Life sometimes follows this mythic happy ending, but most of the time, it does not. A Hera person may see that separation has not changed her partner’s heart. Then, they must accept reality, grieve and move on with their life.

Despite feeling betrayed by the Bad Batch leaving him on Kamino, Crosshair still clings onto the hope that they can be brothers again. He proves his loyalty towards them by killing his Elite Squad Troopers. Then, he offers them to join the Empire as their chance of reconciliation. However, they refuse his offer, forcing Crosshair to face the reality that the separation has not changed their hearts. When Hunter offers Crosshair a chance to rejoin the Bad Batch, Crosshair refuses, claiming that he has made his decision. At this moment, Crosshair lets go of more than the Bad Batch. He also lets go of his hopes that they will change, and lets go of the role of victimized, vindictive Hera. By accepting this reality, Crosshair is able to grieve and move on with his life without the Bad Batch. He stops chasing after them and he lets go of any desire for revenge. Of course, Crosshair is still loyal to the Bad Batch, and this is proven when he lies in his report that they have perished in the bombardment of Tipoca City. He still wants to protect them, even going so far as to send Plan 88 to warn them to hide.

In “The Crossing”, Tech admits to Omega that he does miss Crosshair. When Tech reveals that Crosshair is now under the hands of Dr. Hemlock, Wrecker is surprised that Crosshair has turned against the Empire. Based on his voice, Wrecker is hopeful that Crosshair will come back to them. Tech then pushes the mission to rescue Crosshair because he is their brother, and they do not leave their own behind. Omega, Wrecker and Echo are supportive of the mission, which leads Hunter to give the approval. Their attempt to rescue Crosshair conveys the message that Crosshair is truly important to them.

Since the worship for the goddess Hera was done in a yearly cycle (Hera the Maiden in spring, Hera the Fulfilled One in summer and autumn, and Hera the Widow in winter), there is an archetypal possibility for a Hera person to complete the cycle and begin anew. A Hera person can emotionally “widow” themselves by leaving a relationship or marriage that is empty, abusive or smeared with infidelity. They can then start anew and choose wisely this time. Their drive to be a committed partner can once again be fulfilled in a positive manner as they find themselves in a new relationship or marriage.

Crosshair takes on the archetypal Hera the Widow when conflict arises between him and Hunter, and it gets worse when the Bad Batch leaves him on Kamino. In “Kamino Lost”, Crosshair chooses to emotionally “widow” himself by not returning to the Bad Batch that clearly does not trust him anymore. This is evident when Wrecker, Tech and Echo point their blasters at Crosshair because they think that he is going to shoot Hunter, when in fact, he is going to shoot a grapple to save Omega. Although Crosshair has made a horrible decision to stay with the Empire, he does come to his senses after meeting Commander Mayday. When Mayday is devastated to realize that the Empire disposes the clones despite their loyalty and sacrifices, Crosshair finally understands that loyalty goes two ways. Since this loyalty between the clones and the Empire is only one-sided, Crosshair turns against the Empire. I am sure that once Crosshair is back with the Bad Batch, he can start anew with them and make wiser decisions this time – like he “recycles” himself and takes on the archetypal Hera the Maiden.

Crosshair’s archetype combination is Poseidon, Apollo, Artemis and Hera (similar to Anakin Skywalker). These archetypes are opposites to each other: Poseidon is emotional while Apollo is logical; Artemis is independent while Hera is dependent on others. This combination gives Crosshair a lot of complexity: he is both logical and emotional, is an independent spirit but also deeply cares for his loved ones. In Greek mythology, Apollo and Artemis are twins, and they are both archers, capable of aiming their goals from afar. Apollo is associated with civilizations while Artemis is associated with the wilderness. The Apollo-Artemis combination helps Crosshair to accomplish his goals with ease. He works well with social institutions and he has a love for the wilderness. Besides that, the Poseidon-Hera combination is also possible for it reflects the relationship between Poseidon and his wife Amphitrite. Since a Poseidon person is more in touch with their emotions, they may place high importance on their loved ones, especially if they take on the mature Poseidon that embrace their emotionality in a positive manner. With that, a loving Poseidon can satisfy their Hera partner greatly. The Poseidon-Hera combination makes Crosshair an extremely loyal and committed person. He takes great care of his loved ones and he is fiercely protective of them.

It is worth noting that there is one myth where Poseidon, Apollo, Hera and Athena tried to overthrow Zeus, but they failed. They were punished except for Athena because she was the favourite child of Zeus. This myth gives an insight to the relationship between Hunter (Zeus), Tech (Athena) and Crosshair (Poseidon, Apollo and Hera). When Tech decides not to follow Hunter’s orders, Hunter gets annoyed by it but he lets Tech do his own thing. This is evident in “Cut and Run” when Tech decides to get their ship impounded by the Imperials because this is the simplest solution to get the chain codes. Hunter is angry that Tech goes against his plan, but he trusts that Tech has everything under control. He only warns Tech that Omega is on the ship. On the other hand, when Crosshair decides not to follow Hunter’s orders, Hunter immediately shuts him down. This is evident in “Aftermath” when Crosshair keeps shooting at Caleb Dume despite Hunter repeatedly orders him to stand down. Hunter even questions Crosshair about his actions, wondering what is wrong with him. Moreover, in the Hyperspace Stories #10, Hunter probably senses Crosshair’s frustration with the mission they are given, and he mistakes it as Crosshair questioning orders, which is why he reminds Crosshair that they have their orders. All of these seems to indicate that Tech is Hunter’s favourite, and Crosshair is treated like “the middle child” of the Bad Batch. It is also worth noting that Poseidon, Artemis and Hera are all known for their destructive rage that does not spare innocents, and this reflects on Crosshair’s wrath. If you want to live, do not ever get on his bad side.

Despite all four of his archetypes being opposites of each other, they all prioritize on loyalty and commitment, which are Crosshair’s main values. Crosshair is extremely committed to his duty as a soldier, but he is also committed to his loved ones (probably more than his duty as a soldier). He is fiercely loyal to his loved ones, and will do anything to protect them from harm. If you can see through his cold façade, you will find a man who is willing to make tremendous sacrifices to keep you warm and safe. You just need to be patient with him and be kind to him. As long as you are on his good side, rest assured that you will have a valuable friend and partner in Crosshair.

[ulkaralakbarova]

The employees of an independent music store learn about each other as they try anything to stop the store being absorbed by a large chain. Credits: TheMovieDb. Film Cast: Joe Reaves: Anthony LaPaglia Rex Manning: Maxwell Caulfield Jane: Debi Mazar Lucas: Rory Cochrane A.J.: Johnny Whitworth Debra: Robin Tunney Gina: Renée Zellweger Marc: Ethan Embry Berko: Coyote Shivers Warren: Brendan Sexton III Corey Mason: Liv Tyler Eddie: James ‘Kimo’ Wills Mitchell Beck: Ben Bode Croupier: Gary Bolen Woman at Craps Table: Kimber Sissons High Roller: Tony Zaar Reporter: Patt Noday Kathy: Julia Deane Autograph Girl: Kessia Embry Cop #1: Michele Seidman Cop #2: Diana Taylor Cop #3: Bernard Granger Cop #4: Michael Harding Lead Singer: Dave Brockie Flower Delivery Guy: Kawan Rojanatavorn Roulette Table Man: Corey Joshua Taylor Ballet Dancer: Melissa Caulfield Veronica: Lara Travis Film Crew: Director: Allan Moyle Screenplay: Carol Heikkinen Editor: Michael Chandler Production Design: Peter Jamison Art Direction: John Huke Set Decoration: Linda Spheeris Costume Design: Susan Lyall Producer: Tony Ludwig Producer: Arnon Milchan Producer: Michael G. Nathanson Producer: Alan Riche Co-Producer: Paul Kurta First Assistant Director: Joel Segal Second Assistant Director: Philip A. Patterson Camera Operator: Mitchell Amundsen Steadicam Operator: Rick Raphael First Assistant Camera: John Verardi Second Assistant Camera: Ken Hudson “B” Camera Operator: Jeff Moore Still Photographer: Jim Bridges Second Unit Director of Photography: Carolyn Chen Director of Photography: Walt Lloyd Casting: Gail Levin Music Supervisor: Mitchell Leib Negative Cutter: Mo Henry Color Timer: Bob Putynkowski Music Consultant: Karen Glauber Music Editor: Sally Boldt Supervising Sound Editor: Randle Akerson Sound Effects Editor: Joe Earle Sound Effects Editor: Linda Keim Sound Effects Editor: David M. Horton Dialogue Editor: Adam Sawelson Dialogue Editor: Benjamin Beardwood Assistant Sound Editor: Jonathan Phillips Assistant Sound Editor: Bill Ward ADR Supervisor: Linda Folk ADR Editor: Sukey Fontelieu ADR Mixer: Dean Drabin ADR Mixer: Paul J. Zydel ADR Mixer: Christina Tucker ADR Voice Casting: Barbara Harris Foley Supervisor: David Horton Jr. Foley Mixer: Brian Ruberg Foley Artist: Sarah Monat Foley Artist: Robin Harlan Sound Re-Recording Mixer: Gary Alexander Sound Re-Recording Mixer: Don Digirolamo Sound Re-Recording Mixer: Scott Ganary Dolby Consultant: Douglas Greenfield Dialogue Coach: Naomi Joy Todd Craft Service: Theresa Honeycutt Transportation Coordinator: William “Bill” Pitts Transportation Captain: Jeff Long Construction Coordinator: Jeffrey Schlatter Construction Foreman: Ralph Woollaston Location Manager: Mary Weisgerber Meyer Location Manager: Molly Allen Casting Associate: Tricia Tomey Stunt Coordinator: Jery Hewitt Key Makeup Artist: Jeff Goodwin First Assistant Makeup Artist: Rick Pour Key Hair Stylist: Aaron F. Quarles First Assistant Hairstylist: Lizz Scalice Costume Supervisor: Carolyn Greco Costumer: Sevilla Granger Special Effects Coordinator: Greg Hull Sound Mixer: Douglas Axtell Boom Operator: Robert Maxfield Key Grip: Randy Tambling Best Boy Grip: Dennis Zoppe Dolly Grip: Rufus Granger Jr. Dolly Grip: Clarence Brown Gaffer: George Ball Rigging Gaffer: Scott Graves Production Coordinator: Cynthia Streit Assistant Production Coordinator: Amy Chance Script Supervisor: Annie Welles Second Second Assistant Director: Stefania Girolami Goodwin Unit Publicist: Alex L. Worman Production Accountant: Karen Eisenstadt Assistant Accountant: Rick Baer Property Master: Robert Beck Assistant Property Master: Beth Giles Assistant Art Director: John Frick Set Designer: Evelyne Barbier Set Designer: Tim Eckel Set Designer: Alan Hook Set Dresser: Colleen Broderick Art Department Coordinator: Susan Agnoff First Assistant “B” Camera: Joe D’Alessandro First Assistant Editor: Thomas J. Nordberg Assistant Editor: Pamela Jule Yuen Movie Reviews: Filipe Manuel Neto: **An animated film, full of rebellion and energy.** Remember the stores that sold...

[greenhatsinthesky]

lockdown film no. 31 - A Secret Love (2020) dir. Chris Bolan

07/05/2020

- I think the structure of this was very strong. It was good that they built it around them moving and kind of health struggles and stuff rather than just being about their relationship even though they could easily have done that. It gave it more of a story of what was happening now - so they aren’t just static in the present day.

- hopefully this will show a lot of people that being queer isn’t a new thing and there are people who have been around for ages who have been in relationships and they still struggle with being worried that their families won’t accept them !

- the archive footage in the opening credits made me v emotional and happy/sad/i felt a lot. Also I adore the song, calamity Jane was one of my favourite films as a kid and that scene is such a good one

- I hate it when straight people say they feel betrayed that their queer family members didn’t come out to them earlier. This isn’t your deal to be mad about. If you’re straight and you have family, even if them not being straight has never crossed your mind, just assure them that you will accept them if they aren’t. That doesn’t have to be so on the nose as “if you’re gay that’s OK and you can tell me” because that kind of puts pressure on the person to tell you there and then and they might not be ready to do that. Just assure them. Show support in abstract ways - talk about queer people in a positive way and support equal rights. They aren’t difficult things to do. And I’m not a parent, but if you have children do not make it a taboo topic, because if your child is queer then that’ll be incredibly damaging. 

- when Terry started talking about her dad I started to well up and it wasn’t even ten minutes in

- people who think that queer people have all the rights they need and they aren’t really oppressed are just fucking stupid to be honest. Imagine being at the stage in your life when you need to move into a residential home and have support because you can’t look after yourself in your old age, and having to ask if you and your partner would be accepted by the people in the home. 

- queer history is one of the most interesting things I’m aware of. Lesbian bars being raided?? Witch hunts?? Lives being ruined? Having to wear at least three articles of clothing according to your sex or you’ll be arrested?? That’s our history. 

- I find it so interesting that there’s the debate on gay marriage within the queer community. Not as to whether it should be legal - but individual couples deciding if they want to get married. But actually, that’s not a debate on gay marriage per se, that’s just individual people’s views on the institution of marriage, so it’s reductive to say that that reflects queer people’s views on gay marriage specifically. Just because you can legally do something and people in your community have campaigned to have the right to do it, it doesn’t mean you have to do it if it doesn’t align with your personal views. behave

- BASEBALL

- I don’t follow it but that was such a cool bit. And I am so glad that people take pictures and film stuff because otherwise we wouldn’t have all this stuff!

- “Better a bruise than long pants, hey gals?”

- fuck y’all who say women can’t play sports and it’s not commercially successful

- the story they told of when they met and went skating was one of the most beautiful things. Terry telling it and how pat gave her this note was just stunning and I think I cried I can't remember but statistically its likely

- oh my god kissing in a sandstorm

- this is the real meaning of “risking it all for love”. If they were seen together or people put two and two together then their pictures would have been printed in the papers and their careers would have been ruined. Straight people can’t imagine that happening because of who they were in love with

- pat listing all the men that she was with and how they all died is so funny (obviously not that they died) because it was literally a sign from god going “yo, you’re gay”

- all of the pictures of them in bed together in their own little space were so fucking cute

- I think this also raised some really important things about how expensive retirement homes are like that's fucking ridiculous

- the poem pat wrote for Terry did make me cry. It was absolutely beautiful and the way it was edited with the old footage and the thousands of letters in this box

- they had to rip off the bottom of the letters that they wrote to each other because otherwise they would run the risk of being found out and then their families might know that they were gay. The weight of that is just enormous and it makes me well up thinking about it. We are so fortunate to live in this time. Its not all fixed and acceptance isn’t guaranteed and people probably still have to do this (if people write letters anymore, I hope they do) but it is so much better, obviously, than when pat and Terry were first together

- it has a 100% approval rating on rotten tomatoes and I am so proud of them for that

- I think I cried solidly for the last fifteen minutes or so. Not gonna lie the ending broke me. I was an absolute wreck. Its such an important film and somehow manages to be so informative and we learn a lot about their personal history and the time in general while also making a really genuine connection to the audience. They nailed it

[legends-and-savages]

legends-and-savages: semi-selective multimuse loved by Kitten (she/her).  30 in pst.  Featuring muses from multiple fandoms.  Replies generally queued from 12-7 on work days

In regards to the odd glitch going around feel free to @ me in things or pop by my inbox if you think I've missed something.

Mobile muses and rules

Rules

Characters

Opens

Starter Calls

Memes

Mobile muses under the cut:

*Denotes Alternate FC

**AU Based Character

Aeval Mim

Ajax Fenrisulfur

Albert Wesker

Alice Jones

Alistair Hart

Anastasia Hamilton

Anastasia Romanov

Angie Bolen

Annie January/Starlight

Aphrodite

Ares

Artemis

Arthur Curry

Arthur Pendragon

Aspyn Wynter

Athena Grant-Nash

Atlanna

Aurora Decker-Morningstar

Barry Allen*

Belle French

Ben Solo/Kylo Ren

Ben/ Soldier Boy

Beta Lockwood

Billy Hargrove

Billy Kaplan

Black Hat

Blaine DeBeers

Blythe Wheeler

Bradley "Rooster" Bradshaw

Bree Tanner

Brixton Lore

Brock Rumlow

Bruce Wayne

Callista "Callie" Ward

Cara

Cara Dune

Carlos Reyes

Carol Danvers

Casimir Cummings-Shaw

Cassie Lang

Chuck Hansen

Chato Santana

Cipher

Corinne

Cosmo

Daemon Targaryen

Daliya Tremaine

Danika Fendyr

Danika Tremaine

Dante Reyes

David

Deacon Frost

Derek Hale

Diana Prince

Dinah Lance

Dizzy Tremaine

Dorothy Harding

Drago Couture

Dracula

Drizella Tremaine

Druig

Eddie Diaz

Elain Archeron

Elsa of Arendelle

Emily Thomas

Emma Frost

Erik Killmonger

Eve Corvin

Evie

Felicia Hardy

Felix Fenrisulfur

Fen Udaku

Flint Shaw

Gabriel

Gadreel

Gaige

Gigantosaurs (Paxton)

Grace Ryder

Gwen Stacy

Harley Quinn

Harry Hook

Hatter

Hela

Héra

Helmut Zemo

Heather Fox

Hope Van Dyne

Ilithyia

Indie

Indoraptor

Queen Ingrith

Jack Kline

Jackson Teller

Jake "Hangman" Seresin

Jakob Toretto

Jamie Tartt

Jasmine

Jean Grey**

John Walker

John/ Homelander

Joyce Byers

Juna Carlos Ortiz

Kataleya Alverez

Kiara

Kieran Barnes

Killian Jones

Kitana

Laena Velaryon

Larissa Weems

Laurel Lightfoot

Lidia Cervos

Loki

Lucy Gray Baird

Luke Riordan/Golden Boy

Lyla Flag

Madelyne Pryor

Maggie Shaw/Queen Maeve

Major Lillywhite

Mal

Maleficent

Marcus Corvinus

Margaery Tyrell

Mary Winchester

Maverick Collins

Melina Vostokoff

Mighty Thor

Mileena

Mira Sorrengail

Morgan Crowder-Fitzgerald

Namor

Natasha Romanoff

Negasonic Teenage Warhead

Nesta Archeron

Newt Scamander

Nikki Shaw

Nikolai Lantsov

Odette

Olivia Moore

Onyx Hayes

Orm Marius

Paige Cummings

Peter Parker

Peter Quill*

Pietro Maximoff

Queenie Goldstein

Quentin Beck

Raleigh Becket

Ramonda

Ramsay Bolton

Rapunzel

Rebecca Welton

Regina Mills

Rexy

Rhaenys Targaryen

Rick Flag

Robert DuBois

Robert "Bob" Floyd

Rowena

Roy Kent

Ruhn Danaan

Selene Arslan-Davis

Sersi

Shuri

Sylvie

Tangerine

The Darkness

The Prince

Thena

Theo Raeken

Tiberius

Tyler Kennedy Strand

Thomas J. Hanniger

Thomas Shepherd

Velkan Valerious

Vik Malikova

Vladislaus Dracula

Wanda Maximoff

Wendy Case

Xu Xialing

Yelena Belova

Ygritte

Y'Mera Xebella Challa*

Zoya Nazyalensky

[2022movieonline]

欧美10部有内涵的爱情动作电影片 你不能只把它们当apian来看

欧美10部有内涵的爱情动作电影片 你不能只把它们当apian来看，里面的故事情节，人物构造，画面风格都值等你细细品味! 1.情欲九歌九首歌/情欲九歌/9 Songs 影片原名：9 Songs 国家地区：英国 上映时间：2004-05-16 影片时长：66分钟 导演：Michael Winterbottom 主演：Alex Kapranos，Courtney Taylor-Taylor，Gruff Rhys，Guy Garvey，Jason Stollsteimer，Kieran O’Brien，Marcie Bolen，Margo Stilley，Peter Hayes，Robert Levon Been 影片介绍：在广阔寂静的南极上空，一位年轻的冰川学家马特（Kieran O’Brien饰）回忆起自己与丽莎（Margo Stilley饰）的恋情，他们在伦敦的布里克斯顿音乐学院的音乐节上相遇，那个欲望初绽的夏天，几个月的时间里，他们一起追求相互之间的滚床单. 在那个夏天，九首歌典相对应他们的一次次高潮，一次次缠绵，有笑有泪的爱情故事片，由于大尺度的演出被定义为情色禁片，而主角之间的爱情却也不失甜美…… 拍摄性爱场面时，拍摄现场只有导演、摄影师和录音师。该片预计拍摄10周，但实际只拍了5周。 2.安娜情欲史 影片原名：All About Anna 国家地区：丹麦 上映时间：2005-11-24 影片时长：91分钟 导演：Jessica Nilsson 主演：Gry Bay,Adrian Bouchet,Eileen Daly,Morten Schelbech,Ovidie 影片介绍： 女主角Anna是一名模特，是个不想受感情束缚，享受自由独立生活的女子，不过与前男友重逢后，她有一丝心动，但同时又挣扎着不想失去好不容易拥有的自由，其中两人多场情欲戏一次次都以失败的性高潮结束…… 3.五十度灰 五十度灰/Fifty Shades Freed 影片原名：Fifty Shades Freed 国家地区：美国 上映时间：2018-01-17 影片时长：105分钟 导演：James Foley 主演：Dakota Johnson,Jamie Dornan,Eric Johnson,Luke Grimes,Rita Ora 影片介绍： 一名纯真的21岁女大学生安娜塔希娅·史迪尔（达科塔·约翰逊饰）因为要为校报作一篇报道，便前去采访28岁英俊的企业家克里斯钦·格雷（杰米·道南饰），两人之间擦出了爱的火花，但很快安娜就发现格雷的一个惊人的秘密——他喜欢SM（性虐待）。得知真相的安娜在爱与痛的边缘之间不断挣扎，结果不断发现自己不为人知的阴暗面。本片自上映以来，评分一般，但是关注度极高，IMDB的评分次数达到53000次。 4.黑帮大佬和我的365日 黑帮大佬和我的365日 影片原名：禁室365天(港) / 禁锢之欲(台) / 365天 / 365日 / 365 Days/365 dni 国家地区：波兰 上映时间：2020-02-07 影片时长：116分钟 导演：Barbara Bialowas 主演：Anna Maria Sieklucka，Michele Morrone 影片介绍： 马西莫·托里塞利是一个西西里黑手党家族的年轻英俊的老板，在他的父亲被暗杀后，他别无选择，只能接掌位子。 劳拉·贝尔是一家豪华酒店的总监，事业有成，但私生活却缺乏激情,她努力来挽救人际关系，和朋友一起去西西里岛旅行。劳拉没有料到岛上最危险的人马西莫会绑架她，囚禁她，给她365天时间爱上他。《365 dni》是根据波兰同名畅销小说改编。 5.苦月亮 苦月亮Bitter Moon 影片原名：Bitter Moon 国家地区：法国 上映时间：1992-09-02 影片时长：139 分钟 导演：Roman Polanski 主演：Hugh Grant，Kristin Scott Thomas 影片介绍： 听到她的故事后，游轮上的一名乘客对一个截瘫患者的妻子产生了难以抗拒的迷恋。 6.罗马的房子 罗马的房子/Room in Rome 影片原名：Habitación en Roma 国家地区：西班牙 上映时间：2010-05-07 影片时长：109分钟 导演：Julio Medem 主演：Elena Anaya,Natasha Yarovenko,Enrico Lo Verso,Najwa Nimri 提名： 高雅奖最佳女主角， 哥雅奖最佳新人女演员， 高雅奖最佳改编剧本奖 影片介绍： 《罗马的房间》是一部2010年的西班牙情色浪漫喜剧电影，描绘了在罗马的旅馆房间里，两个女人在一个晚上的情感和性关系。该情节松散地取材于另一部电影《躺在床上》。《罗马的房间》是胡立欧·麦登的第一部英语电影。 7.枕头上的爱 枕头上的爱/Le Repos du guerrier 影片原名：Le Repos du guerrier 国家地区：法国 上映时间：1962-09-05 影片时长：102分钟 导演：Roger Vadim 主演：Brigitte Bardot,Robert Hossein,Jean-Marc Bory,Michel Serrault,Jacqueline Porel 影片介绍： 《枕头上的爱》是由罗杰·瓦迪姆执导的1962年法国电影，由碧姬·芭铎主演。在法国，它被称为Le r​​epos du guerrier 8.你的妈妈也一样 你的妈妈也一样/Y Tu Mamá También 影片原名：Y Tu Mamá También 国家地区：墨西哥 上映时间：2001-06-08 影片时长：106分钟 导演：Alfonso Cuarón 主演：Gael García Bernal,Diego Luna,Maribel Verdú,Daniel Giménez Cacho,Diana Bracho,María Aura 影片介绍： 《你的妈妈也一样》是2001年墨西哥剧情电影，由阿方索·卡隆执导，并与弟弟卡洛斯合作编剧。剧情描述两个青少年为了即将到来的成年时刻，于是与一个美丽成熟的女子同行，展开了一趟公路之旅。电影由墨西哥演员迭戈·卢纳和盖尔·贾西亚·贝纳以及西班牙演员玛莉贝尔·维杜主演。 9.巴黎野玫瑰 巴黎野玫瑰/Betty Blue 影片原名：37°2 le matin 国家地区：法国 上映时间：1986-04-09 影片时长：185分钟 导演：Jean-Jacques Beineix 主演：Jean-Hugues Anglade,Béatrice Dalle,Gérard Darmon,Clémentine Célarié,Jacques Mathou,Consuelo De Haviland 提名： 凱薩獎最佳男配角獎， 凯萨奖最佳影片奖， 凯萨奖最佳女主角奖， 影片介绍： （Betty Blue）是一部1986年的法国情色心理剧情片。它的原始法语名称是37°2 le matin，意思是“早晨37.2℃”。电影由Jean-Jacques Beineix执导，主演BéatriceDalle和Jean-Hugues Anglade。 10.皇室风流史 皇室风流史/En kongelig affære/A Royal Affair 影片原名：En kongelig affære 国家地区：丹麦 上映时间：2012-03-29 影片时长：137分钟 导演：Lars von Trier 主演：Mads Mikkelsen,Alicia Vikander,Mikkel Boe Følsgaard,David Dencik,Cyron Melville,Trine Dyrholm 提名： 凱薩獎最佳男配角獎， 凯萨奖最佳影片奖， 凯萨奖最佳女主角奖， 影片介绍： 讲述18世纪60到70年代丹麦-挪威王国皇后玛蒂尔德与宫廷御医施特林泽之间所发生的“婚外情”。 由于丈夫、丹麦国王克里斯蒂安七世狂躁、轻狂、无礼，智商情商皆不高，因此刚嫁给他的丹麦王后卡洛琳（来自英国，自由派）很郁闷。带着秘密任务接近克里斯蒂安七世的德国医生施特林泽（自由改革派人物）很快获得国王的好感，并顺利掌控国王，影响政局的积极变化。原本一切变革顺利进行，但由于他和王后发生关系并生下一个女儿，最终被保守派抓住把柄，施特林泽和另一人被送上了断头台秘密处决。

[allthingsdarkanddirty]

Historical romance for a wonderful cause is in bloom! Don't miss Sunflower Season: Historical Romance Anthology for Ukraine available now!Universal: https://geni.us/Sunflower_Season Available on all platforms. BLURB: SUNFLOWER SEASON is a charity collection featuring stories (some never-been-published and some old favorites) by over 70 -- that's right -- SEVENTY of your favorite Historical Romance authors. ALL royalties will be donated to humanitarian relief in Ukraine. This set will be released on June 7, 2022 and will only be available for a limited time. Preorder now and enjoy a summer of historical romance!

Featuring novellas, stories and novels by Sabrina Jeffries, Christi Caldwell, Amalie Howard, Virginia Heath, Caroline Lee, Golden Angel, Bree Wolf, Lori Ann Bailey, Nicole Locke, Natasha Blackthorne, Royaline Sing, Lenora Bell, Sabrina Jeffries, Amy Quinton, Janna MacGregor, Annabelle Anders, Rachel Ann Smith, Eva Devon, Sandra Sookoo, Tabetha Waite, Diana Bold, Sadie Bosque, Cheryl Bolen, Erica Monroe, Kate Bateman, Cara Maxwell, Tracy Sumner, Jenna Jaxon, Jane Charles, Eliza Knight, Mariah Stone, Robyn DeHart, Wendy LaCapra, Hildie McQueen, Madeline Martin, Amy Rose Bennett, Ava Bond, Kristin Vayden, Piper Huguley, Fenna Edgewood, Kathryn Le Veque, Caroline Linden, Nancy Yeager, Dawn Brower, Celeste Barclay, Lauren Royal, Michele Pollock Dalton, Glynnis Campbell, Rose Pearson, Erica Ridley, Sydney Jane Baily, Deb Marlowe, Rebecca Paula, Amanda Mariel, Christine Sterling, Ava Stone, Lauren Smith, Sawyer Quinn, Caroline Warfield, Jessica A Clements, Jude Knight, Anna St. Claire, Tamara Gill, Gina Conkle, Charlie Lane, Terri Brisbin, Bronwen Evans, Emmanuelle de Maupassant, Merry Farmer, Tammy Andresen, Cecelia Mecca, Meredith Bond, Christine Donovan, Lana Williams, Carrie Lomax, Eve Pendle, Bethany Bennett, Bianca Blythe, Maggie Dallen, Samara Parish, Anna Campbell and more????

Again, ALL proceeds will be donated to Ukrainian relief efforts. We are not affiliated with any charities but are only doing what we can to provide help for the innocent people who've lost so much as a result of this senseless tragedy.

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[thepaganlady]

Diana is one of the female deities that Julie Loar (and other authors) identify as a Goddess of the Sagittarius Season. According to the book Goddesses for Every Day, Diana's day is November 21: she is the first Goddess of the Sagittarius season, and therefore the one who heads the characteristics of women born at this time of year. The Greek equivalent of her is Artemis, who is my birthday goddess; on her day I will share some ideas to honor and make this deity present. Although both have the same characteristics, it is debated which of the two arose first, since it is believed that Diana is an ancient goddess of Italian origin.

About Diana, Loar says: "As a goddess of the sacred groves and forests, Diana was seen as the protector of all wild creatures. She is usually depicted with a bow and a quiver of arrows, accompanied by her hunting dogs. Her name is rooted in the word for 'light' and she was also named the goddess of the sun and the moon, known as the lights of the sky. "

Diana, or Artemis, is discussed extensively in a wide variety of books (I recommend Warriors, Witches, Women, by Kate Hodges) and, along with Hecate, is featured in most female deity oracle decks. Many ancient myths rescue the essence of Diana, such as that of the mythical heroine Atlanta: "a runner and a hunter who triumphed in both roles, defeating men who tried to defeat her." One of the arcana of the tarot that correspond to the archetype of Diana is The Force: it is a card that can indicate the need to control our nature and achieve power and courage through discipline and mental clarity. It is also a letter with a strong sexual charge: some practitioners comment that it refers to masturbation.

In the last decades, Diana has been very represented in pop culture: Katniss Everdeen heads the list of her heiresses, rescuing the bravery and independence of the goddess; on the other hand, Diana Spencer's brother compared her to this deity, ironic that this woman had the name of the Great Huntress and had been subjected to a persecution that ended her life. Thus, the legend remains in force, either as a tragedy or as a celebration. It is worth mentioning that a common search when googling "Artemis" is: "Who was Artemis's husband?" So it seems that one of the central parts of her myth is currently interpreted as incompleteness.

The book The Goddesses of Every Woman, by Jean Shinoda Bolen, classifies Diana as one of the "virgin goddesses", who represent "the quality of independence and self-reliance in women." According to this author, "every woman who has ever wanted 'a space for herself', sits at home in the middle of nature, enjoys discovering how something works or appreciates loneliness, is related to one of these goddesses and virgins "So it is not uncommon for many women to identify with Diana, whether they are Sagittarius or not.

What identifies this goddess as a "virgin", according to this source, is not the fact that she was never married and chose independence (so she never had a "husband"), but her absolute concentration on the values ​​and actions that they were essential to her, which she kept in privacy and cultivated with all her energy. Artemis decided to live far from the city and keep her distance from men; she enjoyed living in the wild, accompanied by a group of nymphs. Thus, this "virginal" aspect means valuing our artistic, intellectual, physical or other products without expecting someone else's appreciation.

In most myths, Artemis is not represented as a solitary goddess: in addition to nymphs, Artemis has her brother Apollo as a birth partner, who, according to Robert Graves, would have a later origin than goddess. For me, Artemis does not necessarily call for isolation, but rather for the recognition of friendship, fraternity, and "mirror" relationships: those relationships with people that we consider "opposite" to us, but with whom we retain a deeply rooted bond.

Embracing Diana or Artemis in the Sagittarius season means, mainly, giving ourselves time to enjoy our passions. If you have thought "to make your hobby a source of income", this is the ideal time to start organizing. It is time to work on the projects that nurture and encourage us, on the skills that we pride ourselves on or yearn to master, and to fuel our most intimate pursuits. It is not, necessarily, a time to finish things: since the Sagittarius goddesses have many philosophical aspects, their call is to introspection and the conscious exercise of our tasks.

If Sagittarius is your rising sign, you can be inspired by Diana to achieve your goals: although her accurate shot started from her awakened conscience, she is a goddess who calls to action and to try despite failures. If this sign is your moon sign, it may be difficult for you to express your feelings, and you may be concentrating on gaining affection from people and not necessarily on nurturing your relationships. It is also likely that you feel calm in solitude and that you say hurtful things when you feel that others are attacking you; Remember that your zodiac signs are not a condemnation, but a tool to get to know yourself better and change or maintain your personality.

As indicated by many authors who have dedicated themselves to studying female deities as archetypes, meeting different goddesses can help us to identify different facets of our character, and to recognize needs and tastes. If you want to explore these archetypes, visit my store and get closer to the oracles I like to work with. If you want to know which is the goddess of your birthday and which are the goddesses of your entire astral chart, or if you want to give this wisdom to a friend, enter the code CUMPLE in your purchase and I will include this information in any reading you choose. If you identify with Diana and wish to hear a message from her, you can also request a test with the oracle of the Forest Fairies. The image is a photo of Artemis's letter in the Goddess Dream oracle.

[jerseydeanne]

So we have a date!? 🙄😳 It’s best thing, Harry need to learn this Karma! Whatever it is, it’s a good thing JD, marriage will happen, but it will end in divorce. She not going to change the Monarchy, she never going to be an Diana, she hasn’t got the sparkle, or the Heart that goes with it.i guess Just sit back and what the best entertainment of your life, because it’s going to be great.!

I know right! Mrs. Engelson is going to be overshadowed by FA championship game, and it’s Anne Bolen day, she got her head chopped off!  Hey, what ever happened to the  Visa? Don’t you have to be in a relationship 2 years, so part-time marriage, that’s odd. The scrutiny she is going to be under. Wow!! 

Thanks, anon just laugh it's going to be so much fun! Nudes are still in play 

[bibookbabe]

Books I read in 2017

(books with an asterisk are ones I especially liked. I love talking about books, so come chat with me if you want deeper opinions on any of the books)

*My Grandmother Asked Me to Tell You She's Sorry by Fredrik Backman

An Alter in the World by Barbara Brown Taylor

The Field by Lynn McTaggart

Lad of Lima (I didn't make note of the author for some reason, and it's a very old book that I ended up getting rid of)

Covering: the hidden assault on our civil rights by Kenji Yoshino

*Make Your Creative Dreams Real by SARK

How to be Here by Rob Bell

The Secret Horses of Briar Hill by Megan Shepherd

*Mennonite in a Little Black Dress by Rhonda Jansen (if you happen to come from a Mennonite background, as I do, you must read this. Absolutely hilarious and relatable)

*The Gender Creative Child by Diana Ehrensaft

The War of Art by Steven Pressfield

Happier at Home by Gretchen Rubin

My Lady Jane by Cynthia Hand, Brodi Ashton, and Jodi Meadows

The Curated Closet by Anuschka Rees

Simple Matters by Erin Boyle

*Full Catastrophe Living by Jon Kabat-Zinn

*The Raven Cycle series by Maggie Steifvater (yes, I read them again this year)

The Highly Sensitive Person by Elaine N. Aron

Our Own Private Universe by Robin Talley

The More of Less by Joshua Becker (if you're looking for a good minimalism book, this is not it, imo. I liked simple Matters much better)

Moving On by Sarah Ban Breathnach

You Know Me Well by David Levithan and Nina LaCour

The Scavenger's Manifesto by Anneli Rufus and Kristan Lawson

*Around the House and in the Garden by Dominique Browning

*Crossing to Avalon by Jean Shinoda Bolen

The Great Green Okayness by Rachel Awes

Spiritual Housecleaning by Kathryn L. Robyn

*Writing Down the Bones by Natalie Goldberg (if you're a writer, I highly recommend Natalie's books on writing!)

*Wild Mind by Natalie Goldberg

The Enchanted April by Elizabeth Von Arnim

Like Water for Chocolate by Laura Esquivel

Thunder and Lightening by Natalie Goldberg

The Universe Has Your Back by Gabrielle Bernstein

The End of Absence by Michael Harris

The Wishing Year by Noelle Oxenhandler

White Hot Truth by Danielle Laporte

Clear Home, Clear Heart by Jean Haner

The Desire Map by Danielle Laporte

*Steering by Starlight by Martha Beck

Solitude: in pursuit of a singular life in a crowded world by Michael Harris

*Romancing the Ordinary by Sarah Ban Breathnach (a long time comfort book for me. I've read it many times)

*Good Omens by Terry Pratchet and Neil Gaiman

*Pride and Prejudice by Jane Austen

Stardust by Neil Gaiman

*Simple Abundance by Sarah Ban Breathnach

*The Scarlet Pimpernel by Baroness Orczy (I've read this book many, many times, and I always envy people who are reading it for the the first time)

The Prophet by Kahlil Gibran

Matilda by Roald Dahl (I listened to the audible version read by Kate Winslet and she was wonderful)

Save the Date by Mary Kay Andrews (I don't know why I keep trying to read these kinds of books. I never like them. All I can say for this one is that I hated it less than usual)

The Woman in Cabin 10 by Ruth Ware

*The Forgetting Time by Sharon Guskin

[the-once-and-future-dork]

Figure Drawing Studio reading list

Tag yourself, I’m Nutt, Samantha and my prof self-mentioning 3 separate times

An Atlas of Human Anatomy for the Artist - Steven Rogers Peck

Art Students’ Anatomy - Edmond J Farris

Visualizing Muscles, a new ecorché approach to surface anatomy - John Cody, M.D.

The Geometry of Art and Life - Matila Ghyka

The Power of Limits, Proportional Harmonies in Nature Art and Architecture-Gyorgy Doczi

The Language of the Goddess: Unearthing the Hidden Symbols of Western Civilization. - Gimbutas, M

The Goddess in Every Woman - Jean Shinoda Bolen

Moving Beyond Words - Gloria Steinem

The Beauty Myth - Naomi Wolfe

The Female Brain - Louann Brizendine

The Fragile Species - Thomas, L.

The Hysterical Male, New Feminist Theory - edited by Arthur and Marilouise Kroker                                                                                    

Male Order: Unwrapping Masculinity - Rowena Chapman and Jonathan Rutherford                                                                                  

The Masculine Masquerade:  Masculinity and Representation - edited by Andrew Perchuk and Helaine Posner                                              

Beyond Patriarchy, essays by men on pleasure, power and change - edited by Michael Kaufman                                                    

Constructing Masculinity - edited by Maurice Berger, Brian Wallis, Simon Watson.

Ecofeminism - Maria Mies and Vandana Shiva

Global Gender Issues - Spike Peterson and Anne Sisson Runyon

Gender at the Crossroads of Knowledge, Feminist anthropology in the post modern era - edited by Micaela di Leonardo

Gender, Development and Globalization- economics as if all people mattered-Lourdes Beneria

Paradigm Wars: Indigenous Peoples’Resistance to Glogalization - Jerry Mander and Victoria Tauli-Corpuz,

Engenderings, Constructions of knowledge, authority and privilege - Naomi Scheman

Sign, Image, Symbol. - Kepes, Gyorgy

Mining the Media Archive ; Essays on Art, Technology, and Cultural Resistance - Dot Tuer

Inside the Neolithic Mind. Consciousness, Cosmos and the Realm of the Gods-by David Lewis-Williams and David Pearce

The Origin of Consciousness and the Breakdown of the Bicameral Mind - Julian Jaynes

Memories Dreams Reflections - Carl G. Jung

Man and his Symbols - Carl G. Jung

The Hero with a Thousand Faces - Joseph Campbell

The Inner Reaches of Outer Space: Metaphor as Myth and Religion - Joseph Campbell

The Transformation of Myth through Time - Joseph Campbell

Myths to Live By - Joseph Campbell

The Power of Myth ( available in video and dvd) - Joseph Campbell in conversation with Bill Moyers

Myths Dreams and Religions - Edited by Joseph Campbell

Overlay: Contemporary Art and the Art of Prehistory. - Lippard, Lucy

Decolonizing Methodologies - Linda Tuhiwai Smith

Violence and Resistance in the Americas : The Legacy of Conquest - Michael Taussig

The Shock Doctrine - Naomi Klein

No Logo: Taking Aim at the Brand Bullies. - Klein, Naomi

Guns, Germs, and Steel: The Fates of Human Societies. - Diamond, Jared M.

Damned Nations: Greed, Guns, Armies, and Aid - Nutt, Samantha

The World Without Us - Alan Weisman

For an An Amerindian Autohistory - George E. Sioui

God is Red, A Native view of Religion - Vine Deloria Jr

Custer Died for your Sins, An Indian Manifesto - Vine Deloria Jr

For this Land, Writings on religion in America - Vine Deloria Jr

Reclaiming indigenous Voice and Vision - Marie Battiste

Winona LaDuke Reader - Winona La Duke

Lighting the Eighth Fire - Leanne Simpson, editor

Land Spirit Power, First Nations at the National Gallery of Canada - Diana Nemiroff, Robert Houle, Charlotte Townsend-Gault

Race identity and Representation in Education - Edited by Cameron McCarthy and Warren Crichlow

The Drawings and Paintings of Daphne Odjig: A Retrospective Exhibition - curated by Bonnie Devine with additional texts by Robert Houle and Duke Redbird

Nobuo Kubota, Hokusai Revisited ,curated by Diane Pugen - Exhibition catalogue with texts by Diane Pugen and Terrence Heath

Stories from the Shield, The work of Bonnie Devine. Curated by Diane Pugen- Exhibition Catalogue;, Essays by Robert Houle and Diane Pugen

Norval Morrisseau, Shaman Artist - Curated by Greg A. Hill with additional texts by Ruth B Phillips and Armand Garnet Ruffo

Diane Pugen: Drawings and Installations catalogue, Visual Arts Centre of Clarington - Maralynn Cherry, editor, , Bowmanville, On

REQUIRED DVD VIEWINGS (who the fuck needs this?)

The Hero’s Journey

The Life and Work of Joseph Campbell

Mystic Fire Video 60 minutes

Carl Jung: the Inheritance of Dreams Series of 3 The life and work and import of Carl Jung

The Wisdom of the Dream, Part 2 of 3 screened in class

Taking Root: The Vision of Wangari Maathai

Muffins for Granny

[newyorktheater]

The nominations for 34th Annual Lucille Lortel Awards are:

Outstanding Play

Mlima’s Tale Produced by The Public Theater Written by Lynn Nottage

Pass Over Produced by Lincoln Center Theater/LCT3 Written by Antoinette Nwandu

Slave Play Produced by New York Theatre Workshop Written by Jeremy O. Harris

Sugar In Our Wounds Produced by Manhattan Theatre Club Written by Donja R. Love

What The Constitution Means To Me Produced by New York Theatre Workshop Written by Heidi Schreck

Outstanding Musical

Be More Chill Produced by Gerald Goehring, Michael F. Mitri, Jennifer Ashley Tepper, Marc David Levine, Marlene and Gary Cohen, 42nd.club, The Baruch Frankel Viertel Group, Alisa and Charlie Thorne, Jenny Niederhoffer, Chris Blasting/Simpson & Longthorne, Brad Blume/Gemini Theatrical, Jonathan Demar/Kim Vasquez, Ben Holtzman and Sammy Lopez, Koenigsberg/Federman/Adler, Ashlee Latimer and Jenna Ushkowitz, Jenn Maley and Cori Stolbun, Robert and Joan Rechnitz, Fred and Randi Sternfeld, YesBroadway Productions, in association with Two River Theater Music and Lyrics by Joe Iconis, Book by Joe Tracz

Girl from the North Country Produced by The Public Theater Book by Conor McPherson, Music and Lyrics by Bob Dylan

Midnight at The Never Get Produced by The York Theatre Company by arrangement with Visceral Entertainment and Mark Cortale Productions, Nathaniel Granor, Jeff G. Peters, Daryl Roth, Megan Savage Book, Music, and Lyrics by Mark Sonnenblick, Co-Conceived by Sam Bolen

Miss You Like Hell Produced by The Public Theater Book and Lyrics by Quiara Alegría Hudes, Music and Lyrics by Erin McKeown

Rags Parkland Sings The Songs Of The Future Produced by Ars Nova Written by Andrew R. Butler

  Outstanding Revival

Carmen Jones Produced by Classic Stage Company, Alan D. and Barbara Marks, Eric Falkenstein, and Covent Garden Productions Book and Lyrics by Oscar Hammerstein II, with Music by Georges Bizet

Fabulation, or The Re-Education of Undine Produced by Signature Theatre Written by Lynn Nottage

Fiddler on the Roof in Yiddish Produced by National Yiddish Theatre Folksbiene, Paul & Rodica Burg, UJA-Federation of New York, Stanley & Marion Bergman Family Charitable Fund, The David Berg Foundation, Paul & Peggy Bernstein, Mark & Audrey Mlotek, Mark E. Seitelman Law Offices, in association with Esti & Barry Brahver and Sheila Nevins Book by Joseph Stein, Music by Jerry Bock, Lyrics by Sheldon Harnick, Translation by Shraga Friedman

Happy Birthday, Wanda June Produced by Wheelhouse Theater Company Written by Kurt Vonnegut

The Shadow of a Gunman Produced by Irish Repertory Theatre Written by Sean O’Casey

Outstanding Solo Show

Feeding the Dragon Produced by Primary Stages in association with Jamie deRoy and Hartford Stage Written and Performed by Sharon Washington

Fleabag Produced by Annapurna Theatre, Megan Ellison, Sue Naegle, Skye Optican, Kevin Emrick, David Luff & Patrick Myles, Barbara Broccoli, Patrick Catullo, Diana DiMenna, Daryl Roth, Eric Schnall, Jayne Baron Sherman, DryWrite, Soho Theatre Written and Performed by Phoebe Waller-Bridge

Girls & Boys Produced by Audible and The Royal Court Theatre Written by Dennis Kelly Performed by Carey Mulligan

Mike Birbiglia’s The New One Produced by Joseph Birbiglia, Mike Lavoie, and Rebecca Crigler Written and Performed by Mike Birbiglia, Additional Writing by Jennifer Hope Stein

My Life On a Diet Produced by Julian Schlossberg, Morris S. Levy, Rodger Hess, Harold Newman, Jim Fantaci, Andrew Tobias, and Ronald Glazer/Sabrina Hutt Written by Renée Taylor and Joseph Bologna Performed by Renée Taylor

Outstanding Director

Lileana Blain-Cruz, Marys Seacole Jo Bonney, Mlima’s Tale John Doyle, Carmen Jones Lee Sunday Evans, Dance Nation Joel Grey, Fiddler on the Roof in Yiddish

Outstanding Choreographer

Lee Sunday Evans, Dance Nation Raja Feather Kelly, If Pretty Hurts Ugly Must Be a Muhfucka Rick and Jeff Kuperman, Alice By Heart Lorin Latarro, Merrily We Roll Along Susan Stroman, The Beast in the Jungle

Outstanding Lead Actor in a Play

Juan Castano, Transfers Russell Harvard, I Was Most Alive with You Jon Michael Hill, Pass Over Sahr Ngaujah, Mlima’s Tale Tom Sturridge, Sea Wall/A Life

Outstanding Lead Actress in a Play

Ako, God Said This Quincy Tyler Bernstine, Marys Seacole Marin Ireland, Blue Ridge Zainab Jah, Boesman and Lena Charlayne Woodard, “Daddy”

Outstanding Featured Actor in a Play

Ato Blankson-Wood, Slave Play Marchánt Davis, Ain’t No Mo’ Gabriel Ebert, Pass Over John Procaccino, Downstairs Matt Walker, The Play That Goes Wrong

Outstanding Featured Actress in a Play

Quincy Tyler Bernstine, Our Lady of 121st Street Stephanie Berry, Sugar In Our Wounds Blair Brown, Mary Page Marlowe Crystal Lucas-Perry, Ain’t No Mo’ Danielle Skraastad, Hurricane Diane

Outstanding Lead Actor in a Musical

Sam Bolen, Midnight at The Never Get Andrew R. Butler, Rags Parkland Sings The Songs Of The Future Jeremy Cohen, Midnight at The Never Get Clifton Duncan, Carmen Jones Steven Skybell, Fiddler on the Roof in Yiddish

Outstanding Lead Actress in a Musical

Kate Baldwin, Superhero Gizel Jiménez, Miss You Like Hell Anika Noni Rose, Carmen Jones Stacey Sargeant, Rags Parkland Sings The Songs Of The Future Mare Winningham, Girl from the North Country

Outstanding Featured Actor in a Musical

John Edwards, Smokey Joe’s Cafe: The Songs of Leiber & Stoller Sydney James Harcourt, Girl from the North Country Bryce Pinkham, Superhero George Salazar, Be More Chill Heath Saunders, Alice By Heart

Outstanding Featured Actress in a Musical

Jackie Hoffman, Fiddler on the Roof in Yiddish Stephanie Hsu, Be More Chill Luba Mason, Girl from the North Country Soara-Joye Ross, Carmen Jones Alysha Umphress, Smokey Joe’s Cafe: The Songs of Leiber & Stoller

Outstanding Scenic Design

Wilson Chin, Pass Over Charlie Corcoran, The Shadow of a Gunman Nigel Hook, The Play That Goes Wrong Laura Jellinek, Rags Parkland Sings The Songs Of The Future Arnulfo Maldonado, Sugar In Our Wounds

Outstanding Costume Design

Dede Ayite, By the Way, Meet Vera Stark Montana Levi Blanco, The House That Will Not Stand Jennifer Moeller, Mlima’s Tale Kaye Voyce, Marys Seacole Paloma Young, Alice By Heart

Outstanding Lighting Design

Amith Chandrashaker, Boesman and Lena Lap Chi Chu, Mlima’s Tale Bradley King, Apologia Barbara Samuels, Rags Parkland Sings The Songs Of The Future Yi Zhao, The House That Will Not Stand

Outstanding Sound Design

Matt Hubbs, Boesman and Lena Dan Moses Schreier, Carmen Jones Jane Shaw, I Was Most Alive with You Mikaal Sulaiman, Rags Parkland Sings The Songs Of The Future Isobel Waller-Bridge, Fleabag

Outstanding Projection Design

Katherine Freer, By the Way, Meet Vera Stark Luke Halls, Girls & Boys Alex Basco Koch, Be More Chill Alex Basco Koch, Fireflies Tal Yarden, Superhero

SPECIAL AWARD Outstanding Alternative Theatrical Experience On Beckett Produced by Irish Repertory Theatre Exploring the Works of Samuel Beckett, Conceived by Bill Irwin

HONORARY AWARDS Outstanding Body of Work Telsey + Company

Playwrights’ Sidewalk Inductee María Irene Fornés

Edith Oliver Service to Off-Broadway Award Terry Byrne

  The awards will be held May 5th at NYU Skirball Center for Performing Arts

Shows That Received More Than One Nomination

Carmen Jones 6 Rags Parkland Sings The Songs Of The Future 6 Mlima’s Tale 5 Be More Chill 4 FIDDLER ON THE ROOF IN YIDDISH 4 Girl from the North Country 4 Pass Over 4 Alice By Heart 3 Boesman and Lena 3 Marys Seacole 3 Midnight at The Never Get 3 Sugar In Our Wounds 3 Superhero 3 Ain’t No Mo’ 2 By the Way, Meet Vera Stark 2 Dance Nation 2 FLEABAG 2 G irls & Boys 2 I Was Most Alive with You 2 M iss You Like Hell 2 Shadow of a Gunman 2 Slave Play 2 Smokey Joe’s Cafe: The Songs of Leiber & Stoller 2 The House That Will Not Stand 2 THE PLAY THAT GOES WRONG 2

Lucille Lortel Award Nominations 2019 Off-Broadway: Carmen Jones, Rags Parkland, Mlima’s Tale Lead The nominations for 34th Annual Lucille Lortel Awards are: Outstanding Play Mlima's Tale Produced by The Public Theater…

[kartiavelino]

Sheryl Lee Ralph rocks the locks on Season 2 of ‘Claws’

Claws Sunday, 9 p.m., TNT The first thing you notice about Matilde Ruval on “Claws” is her hair, a comically full mass of loose gray and black curls that would intimidate any stylist. But the wig didn’t scare actress Sheryl Lee Ralph — not for long, anyway. “When I saw it, I said to myself, ‘That’s a whole lot of curls!’ ” says the 61-year-old performer, who joins Season 2 as the manipulative mother of Desna’s (Niecy Nash) love interest, Haitian mafia boss Gregory Ruval (Jimmy Jean-Louis). “It really shows what this island woman thinks is a French, wealthy, sophisticated look.” Her appearance also enhances Matilde’s intimidating presence as she and money-laundering manicurist Desna size each other up. Ralph is known for playing Ginger St. James on the 1980s comedy “It’s a Living,” as well as stepmother Dee Mitchell to Brandy Norwood’s title character on the 1996-2001 sitcom “Moesha.” She also originated the Diana Ross-esque role of Deena Jones in the 1981 Broadway musical “Dreamgirls.” Ralph recently spoke with The Post by phone from New Orleans, where “Claws” is filmed. Before you joined the show, were you already a fan? Oh, absolutely! It’s like a very, very guilty pleasure. If you don’t watch daytime soaps, it’s the best nighttime soap on steroids, baby. Whatever you thought you wanted in a nighttime soap opera, they give you more — and then a little bit more. How would you describe Matilde? I’ve played a lot of characters in my career and this is the first character who I loved playing, but I sure did not like her. She’s a janky chick, I’m tellin’ you. Has Desna met her match? Oh, you’re gonna have to wait and see that. It’s so interesting: this whole season, nothing is what you think you’re looking at. Sheryl Lee Ralph shows off attitude — and a fierce wig — as Matilde Ruval in “Claws.”Skip Bolen How did you nail the Haitian accent? I really had a great coach. Usually with language you can figure out the one thing that makes their language theirs. Like when you’re doing a British accent, you just have to make sure your tongue is flat. Then I found out [starts talking in a Haitian accent] wid doing de Haitian accent de “T” is “D.” That’s what got me into it. “Dere” is “there.” “Dat” is “that.” In Sunday’s episode, Matilde’s son Gregory feeds her a strawberry in a really awkward, creepy way. How many takes did you do? I gotta tell you, this show is a one-take wonder. We did that in one take. The director gave me a direction and I was like, “Oh, no — really?” And he was like, “Oh, yes — just try it!” And we just went for it and that was that. You also play a bounty hunter on “MacGyver.” How do you explain the breadth in all of your roles? At Rutgers University I had a professor named John Bettenbender. For whatever reason, he believed that I would do great things as an actor. He always, always encouraged me to study, to sharpen my edge. This year, when I’m playing a woman on the spectrum in “One Mississippi,” when I get to play that bounty hunter on “MacGyver” … and then get the call to play Ruval, I’m like, my God, thank you, Dr. Bettenbender, and thank you to all those great teachers I had before who took the time to tell me, “Go on and be great, study and hone your craft.” Because of “Dreamgirls,” it’s often reported that you and Diana Ross had a feud. Are you two OK now? You know what? Diana Ross and I, personally, were never not OK. … That whole thing that happened between us — people always ask about it. I’m sure it probably makes her and [her daughter] Tracee cringe. I think it was her frustration with the show and I happened to be a part of the show and was so closely connected with her. But it’s all in the past. It’s gay pride month and, related to that, you’re a longtime AIDS activist with your DIVA Foundation. Why is it still so important to you? I’ll never, ever forget that time in my life when my friends died from a mysterious disease. I remember what it was like to watch people suffer and see people stand complicitly by, in silence. And I couldn’t be silent. I had to do something. Where is your voice? Find your voice and use it. People are still dying of AIDS. We can still do so much more and still do so much better. — Eric Hegedüs And here’s what else to watch this week: Westworld Sunday, 9 p.m., HBOSeason finale. After last week’s bloodbath, who knows what to expect? It seems that the surviving characters make it to the The Door and The Valley Beyond. And if William (Ed Harris) is human, how will he react now that he’s murdered his daughter? [embedded content] Salvation Monday, 9 p.m., CBSSeason premiere. The secret of the asteroid’s imminent approach becomes public following a nuclear incident. Darius (Santiago Cabrera) and Grace (Jennifer Finnigan) must adapt to new roles. Pose Sunday, 9 p.m., FXCandy’s (Angelica Ross) insecurities are heightened; Damon (Ryan Jamaal Swain) and Ricky (Dyllon Burnside) have a medical scare that convinces Pray Tell (Billy Porter, below left, with Johnny Sibilly) that everyone needs to get tested for HIV. Jeffrey Neira/FX Dietland Monday, 9 p.m. AMCAs she enters the final stage of The New Baptist Plan, Plum (Joy Nash) experiences the harsh reality of dating. Glow Friday, NetflixSeason premiere. After directing an improvised title sequence at a local mall, Ruth (Alison Brie) butts heads with Sam Sylvia (Mark Maron). Debbie (Betty Gilpin) secretly amends her contract with the KDTV station owner. Also starring Shakira Barrera and Sydelle Noel. [embedded content] Secret City Tuesday, NetflixSeries premiere. Beneath the placid facade of Canberra, amidst rising tension between China and America, senior political journalist Harriet Dunkley (Anna Torv) uncovers an underground location of interlocked conspiracies. Yellowstone Wednesday, 10 p.m., ParamountAs the dust settles from the shootout, the Duttons deal with the potential repercussions. John (Kevin Costner, below far right) calls in a favor and collects on some old debts. Paramount Network Share this: https://nypost.com/2018/06/22/sheryl-lee-ralph-rocks-the-locks-on-season-2-of-claws/ The post Sheryl Lee Ralph rocks the locks on Season 2 of ‘Claws’ appeared first on My style by Kartia. https://www.kartiavelino.com/2018/06/sheryl-lee-ralph-rocks-the-locks-on-season-2-of-claws.html

[jazzworldquest-blog]

USA: Paul Shaffer, Maurice Hines, Justin Vivian Bond and Comic Jim David Set as Presenters at the 32nd Annual Bistro Awards Gala

  Musician Paul Shaffer,  Performer Maurice Hines, Artist-Activist Justin Vivian Bond and Comic Jim David Set as Presenters at the 32nd Annual Bistro Awards Gala Monday, March 13 6:30 pm

(New York City, March 2, 2017) — Veteran entertainer Maurice Hines, “trans-genre” artist Justin Vivian Bond, comedian Jim David, and musician Paul Shaffer have been set as presenters at the 32nd annual Bistro Awards on Monday, March 13 at 6:30pm at Gotham Comedy Club. Hines, Bond, and David are, themselves, previous Bistro Award honorees. Maurice Hines’s career as actor, singer, dancer, and choreographer began at age five. He and his brother Gregory opened for such artists as Lionel Hampton and Gypsy Rose Lee. When their father then joined them, "Hines, Hines, & Dad" became an internationally successful act, Later he would find acclaim on Broadway, in film, and on television. He earned a Tony nomination for Uptown… It’s Hot! Currently he is touring the country with an autobiographical show, Tappin’ Thru Life. Justin Vivian Bond is a taboo-busting artist and activist and the recipient of numerous accolades during a landmark career, including an Obie Award, a Bessie Award, and a Tony nomination. In addition to stage, film, and recording-studio credits, Mx Bond is the author of the Lambda Literary Award-winning memoir Tango: My Childhood, Backwards and in High Heels. Montreal’s Le Devoir heralded comic Jim David for hurling words at audiences “with surgical skill and a killer’s power.” The self-described “comedian, actor, writer, DJ, and Professional Smart Ass” has four comedy recordings to his credit. He recently released his debut novel, You’ll Be Swell. Paul Shaffer received an early-career boost thanks to composer Stephen Schwartz, who, after hearing him play, hired him on the spot as musical director for a Toronto production of Godspell (featuring Eugene Levy, Martin Short, Gilda Radner, Andrea Martin, and Victor Garber). Soon he moved on to Saturday Night Live, followed by thirty years as David Letterman’s music director and sidekick. He has written hit songs, and recorded with countless artists, from Diana Ross to Yoko Ono to Earl Scruggs. Shaffer will present the Bob Harrington Lifetime Achievement Award to rock & roll singer Darlene Love. The Bistro Awards Committee recently announced that ASCAP, the performing rights association and longtime Title Sponsor of the Bistro Awards, has chosen to lend its name to this special award. The Award will now read “ASCAP presents the Bob Harrington Lifetime Achievement Award”. Harrington created the Bistro Award in 1985. It is the oldest award of its kind in the industry, recognizing outstanding achievement in the cabaret and club community. The gala event will be held on Monday, March 13 at 6:30 pm at Gotham Comedy Club. 208 W. 23rd Street. Sherry Eaker, the former longtime Editor-in Chief of Back Stage and the producer of the event since its inception, heads up the Awards Committee that includes BistroAwards.com critics Gerry Geddes, Roy Sander, Robert Windeler, and Mark Dundas Wood. Sander is also the award show’s associate producer. The awards presentation is sponsored, in part, by ASCAP, Tommy and Lisa D’Antonio, and Fr Jeffrey Hamblin. Premium Tickets are $125.00; General Admission tickets are $75.00. Ticket-buyers in both categories are invited to the “After-Bistros” party as guests of the Bistros. For details about the various ticket categories and early purchase prices, visit www.BistroAwards.com. For additional information, call 917-239-5467. Following is a complete list of the winners being recognized for their outstanding work: Darlene Love / ASCAP’s Bob Harrington Lifetime Achievement Award Carol Woods / Enduring Artistry Jason Kravits / Musical Comedy Spider Saloff / Ongoing Jazz Artistry Natalie Douglas / Recording: Human Heart Matt DiPasquale / Ira Eaker Special Achievement Award Meg Flather / Vocalist David Vernon / Vocalist Lucille Carr-Kaffashan / Theme Show: Unwritten: Celebrating 21st Century Female Singer-Songwriters Lauren Stanford / Musical Portrayal: Helen Morgan in More Than You Know Sally Darling / Tribute Show: Totally Noël Courter Simmons  / Characterization: Cacophony Daniels David Maiocco and Chuck Sweeney / Musical Comedy Duo: Lee Squared Anya Turner and Robert Grusecki / Songwriters Sam Bolen, Mark Sonnenblick, and Max Friedman / Book Musical: Midnight at the Never Get Jeff Cubeta / Musical Director  

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