#its not really that good compared to other people i know

[feather314]

I knowww I think about stuff like this so much. It kind of plays into his whole character vs self conflict where he's constantly self-deprecating and assuming the worst in himself. In fact, everyone else is always calling him dumb too, probably just because he's more quiet compared to them. When you don't talk, others tend to assume you don't have thoughts either... But then we read his journal and it's incredibly insightful about everything happening to him, thereby highlighting the tragedy of how much his circumstances hurt him.

And then that makes me wonder if that conflict of self-doubt and self-hatred maybe doesn't entirely come from himself. Because clearly, he's NOT dumb. He has to know how well-spoken he is, he sees how others talk and chooses not to mimic them. And when he's writing, he knows no one else is gonna see it, so he doesn't speak in his journal as if he's just writing nonsense. He knows he's not.

So that brings up the heartbreaking possibility that his fellow gang members impact his psyche enough to where he socializes under the impression that everyone thinks he's a prize idiot (if you will). And all that negative self-talk really gets in your head... It can't be helped by other people poking fun at his intelligence. I'm sure they're just jokes, and I'm sure he knew that too, but still, it's definitely enough to worm its way into your self-image, even for someone as in touch with himself as him.

He truly is very insightful and very well-spoken, and has a lot of intelligence, both emotional and otherwise. But due to some combination of his own internal struggles and the outside influences that may or may not have catalyzed those, he treats himself like he's stupid and expects others to do the same. And it makes me so sad to think how much happier he could have been if he didn't constantly have voices both around him and in his head telling him he wasn't good or clever or aware. If only Arthur could have appreciated how great he was! :(

I constantly think about Arthur's quote, "I can barely speak English." because the same man is saying things like, "I must moderate my approach to wine." "Despite my best efforts to the contrary..." or "I have to insist." At times he can be poetic (threatening or not) in the way he says things too. For example, "Maybe when your mother's finished mourning your father, I'll keep her in black on your behalf." Or one of my favorites, "Lack of something to feel important about is almost the greatest tragedy a man can have."

Or how about when he finds that crashed airship along Little Creek River? He mentions Icarus, a Greek myth about a man who flew too close to the sun and the wax melted, causing Icarus to plunge into the sea and drown. At that time not everyone is learning and reading classical literature, you literally have to go out of your way and read that shit in a book. Sure Dutch and Hosea taught him to read, but what outlaw is teaching a teenager about Greek Mythology?

Arthur is smarter than he gives himself credit for. He's by no means stupid. He's self-aware and far more emotionally intelligent than he comes off as.

And it makes it a bit more tragic when you think of the potential Arthur might’ve had outside of being an outlaw.

[h-sleepingirl]

You Are A Wizard, So Pour Over The Tomes

Hypnosis is magic. It is not just “the closest we can get to magic.” Trance practices in all kinds of forms have served as the basis for mysticism across cultures and human history -- thousands of years. It is not new. It is not western. It did not start with Franz Mesmer or James Braid or Milton Erickson or Wiseguy.

Modern hypnosis stems from a rich human history of fascination and spiritual veneration of the mind’s power. We are practitioners of a comparably new discipline where we can literally change the way that other people experience the world. Their innermost selves are as leverage to us -- putty to us, when we know what we are doing. We can transform others freely. We can give pleasure or pain. We can facilitate experiences that seem to defy reality.

People talk a big game about respecting that power. What they usually mean by that is respecting EACH OTHER. That’s crucial, obviously -- not manipulating, not harming, being a good person.

But what about respecting the discipline itself?

It’s tempting to see what we do as disconnected from the “historical” and “outdated” methods of hypnosis. But we are a part of that history. We are likely hilariously wrong about a lot of things related to trance, hypnosis, the human mind -- what will hypnosis and psychology look like in 100 years? And even as we innovate, we are always building on the techniques and ideas that came before us -- in ways we are often not even aware of. We reinvent; we use ideas from the past unknowingly.

We have a right -- and a responsibility -- to OWN our magic. I am not here to gatekeep and say that this magic is not yours. It IS yours; it’s unequivocally yours. But as a whole we could do more to respect it.

“Any sufficiently advanced technology is indistinguishable from magic.” And hypnosis is not even a technology that we UNDERSTAND. The only real reason we DON’T see ourselves as wizards is because there is a huge motivation to legitimize hypnosis as a scientific discipline -- and non-rationalist perspectives are looked down upon in our culture. I’m not anti-science (maybe a little -- tongue in cheek) but I do think that labeling hypnosis as “just psychology” is dishonest about how much we actually objectively know about it -- and does a disservice to the phenomenon itself.

I’m not saying hypnosis is literally metaphysical. But I am saying we practice something very powerful without knowing its nature. There are secrets we have tried to suss out about this magic through history that we have written down -- past and present. We actually have tomes of knowledge, records of past experiments and modern inventors.

In the last couple of years, I’ve started teaching/facilitating “text studies” -- classes where we sit down with an excerpt from a hypnosis book and parse through it as a collaborative group. I desperately want to show people that there is value in just critically reading the resources available to us. The clinical texts -- especially older ones -- are hard to read, like they are almost in a different language. But it is amazing the insights we have come to by tackling them together.

These old texts are not pure truths -- there is a lot we’ve improved on over time. But we can learn a lot by learning what hypnosis was like historically. The entire discipline of hypnosis is extremely susceptible to change -- it is defined SO MUCH by how we view it culturally. I just recently was amazed at re-reading some Erickson where he talks about making his subjects daydream autonomously -- as a primary mode and result of inducing hypnosis. Contrast that with today, where if someone’s mind wanders for even a moment, they feel like they’ve failed. There’s something really important here -- a technique from 50 years ago that tells us something we’ve lost in modern practice.

And there are countless examples of this, of people losing and reinventing methods over and over. As I’ve watched our kinky niche grow over just the past 13 years, I’ve watched ideas phase in, out, and in again -- there is both growth and regression of our collective body of knowledge. That’s the nature of things, especially when we operate partially disconnected from the resources that are available to us.

We CAN be connected to the rich human history of trying to unravel the secrets about our minds, and about this thing that gives us enormous transformative powers -- powers that we take for granted.

You are a wizard -- so pour over the tomes.

Read a book. Read an article. Set aside some time and view yourself with the respect of being someone who can study and suss out a magical text. Take notes, look up words and concepts you don’t know. Or just absorb what you can on a first pass and go back later. Read a chapter or just master a single page. Romanticize the aesthetic of sitting with the scent of paper, or as the technomancer with words appearing on a screen.

Read. Own this art. And bring that respect of this art to the people you share it with. I promise you can do things with hypnosis that you have never thought possible.

------------------

This is a little motivational piece (for you and me!) as I gear up to teach "Analyzing Erickson" at Charmed. It's something I feel really passionately about, and I wanted to share it.

Permanently linked/free on Patreon.

[bonemarble]

love your thoughts on Leah! how do you think her relationship could develop or what direction would it go in regards to Anna and Charles after wild sign?

interesting question! i don't think i have a very good answer for a "direction" these relationships could take, mainly because that depends on the larger story pb wants to tell: is this a story where people deconstruct the social order that has generated them or one where they try to find some measure of peace in it? i'll explain better under the cut.

charles and leah, i think, are at a point where they are starting to come to terms with their rivalry and identify its true cause: they were two lonely children starved for affection fighting each other because they couldn't fight bran for it. at the same time i don't know that this modicum of understanding is enough to build a relationship. even seeing the situation with a bit more clarity, the material causes that pit them against each other are not going to disappear, they have centuries of ill feelings between them, and i think at this point they simply don't like each other very much. even more importantly, i think there's a very good reason they are so repelled by each other and it took them so long to see the other's distress: they are very good mirrors. they both spent formative years of their lives with bran as the only (if imperfect) parental (or quasi) figure in their lives and attached the majority of their sense of self to their usefulness to him. to fully recognise the pain of this in the other would come very close to recognising this in themselves. they both know bran doesn't treat them well but they have become accustomed to it, i think. they grow some thick skin over it, shrug it off and get on with things (that's how bran wants them after all). seeing the other's wounds would make their own much more difficult to ignore. there's also an even more convoluted contortion in place: if they each believe bran is somehow unfair only towards them while he is right when he mistreats others, they never need to really question bran's judgement. feeling isolated in this unfairness is preferable compared to confronting the life-shaking truth that the person that moves the sun in your world may be doing it wrong. many other thoughts along these lines but this is already long.

leah and anna also have a mildly antagonistic relationship but of course there's less history there. my main issue with anna is that the only way to give her some true tridimensionality would be to acknowledge with some seriousness the difficulty of her circumstances. she was turned against her will, abused for years, and then latched onto her only saviour. he is a man she knows little when they basically marry and he is violent and possessive. her new life revolves around him and his complex family, with which she lives and has to deal all the time. at the same time, her survival depends on their support and protection, as we have seen how much her 'omega specialness' doesn't really ensure safety without material power to prevent her exploitation. there's no need to turn this into a grimdark novel, but if this context is not always waved away, suddenly she is not an unrealistic fairy always untouched by events: she is someone making strategic decisions to craft the best life possible out of her circumstances, finding love where she can and fighting for it. she has no true interest in anyone besides charles bc she is rightly guarded and balancing her new relationship with him already requires a lot of her energies. + he is the only person she can trust to be in her corner, without which she should be as lost as when they met (she also truly loves him ofc but this hardly explains her isolationist behaviour). she manipulates others not bc she is some quirky genius: it's the only way she sees to obtain what she needs when she is surrounded by aggressive impulsive people that are more powerful than her and feels the need to forestall their worst reactions. when bran and charles start giving her some latitude, she relaxes around them, especially as she realises she has things she can leverage (charles's love and her omega powers) to ensure a better condition for herself. but she is still wary of their flaws and recognises how they impact leah. yet leah is unpleasant. she sometimes makes her life more difficult but not really with the gravity and frequency people seem to assign her. even on good days however anna, so so smart and crafty and sneaky in navigating her circumstances, is almost annoyed by her: how has she not learned to do this better? how has she not learned to make herself likeable and dance around people and avoid confrontation to better obtain what she wants? but there's something else behind it, imo: leah might be brash and crude but she is real. how liberating that must be, to not always feel like your well-being depends on how quickly you past on a smile! the reason anna doesn't like leah, is the reason most people don't: to acknowledge leah's reactions as sensible is to eliminate the displacement of blame that allows life under unfair circumstances. to see leah's anger is justified means asking herself: why is she not angry? leah is a great mirror for her too. she can recognise her pain if she imagines her to be in a much more difficult position, someone to help from a higher standing. to confront her from a position of parity would mean to confront that position of parity: that she doesn't have any more material power than leah and her current better treatment stems from a momentary lucky alignment of events over which she has little control. bran and charles are, in their own ways, as unpleasant as leah is, only 1) anna needs them to survive; 2) since they also need her + they are not threatened by her they generally choose to treat her better. i am not saying anna should roll over and let leah treat her however she wants: leah enacts a similar mechanism with anna after all. disliking anna for being treated better is the only valve available to release her anger: it's not like she can accomplish much by going against bran and charles.

necessary prelude for me to say i don't care if leah and anna become fast friends. much as i don't care if leah and charles do. i think this dynamic is interesting even if it remains antagonistic, as long as either immobilism or change follow some logical exploration of this setting. it can truly go either way i would be ok with both.

[spacedlexi]

i just think a "friended/romanced + saved + trust aj" violet does such a good job rounding out the plot and characters of S4 and i dont say that lightly

she walls people off out of fear just like S3 clem did and learned to grow out of through the compassion of others. feeling like she could have done more to save minnie being what initially makes her step up to lead, but her accepting her love for clem (and clem choosing to save her) is what leads to her Truly accepting the school and everyone inside it as her Home and gives her something to fight for ("i tried my damnedest not to care about either of you. and i still couldnt tell you why." "i know where youre coming from. after losing so many people, sometimes its easier to keep everyone at arms length." "and then you wonder why you fight so hard to stay alive. i dont wonder anymore."). this being the reasoning behind violets detachment from the school, as well as a negative home life impacting her idea of what a home even was. but together they turn ericson from a prison into the home theyve BOTH been looking for, renaming it together, and envisioning it for the future together. the two of them understand each other deeply, from what theyve lost to how its affected them and the poor ways theyve decided to react to it. but through their support of the other, they BOTH get to evolve into more relaxed and confident versions of themselves, who know Exactly what theyre fighting for

her troubled relationship with brody and getting to learn more about what happened with the twins/violets reaction to it and how she ultimately blames herself/brodys guilt about her part in it and how she misses violet. getting the chance to mend that relationship before its too late. the 3 of them becoming closer because of it. and getting to develop clems friendship with brody leads to a more impactful moment later in the basement

her relationship with tenn reflecting clems relationship with aj, in the way they both made the decision to look after their respective boys after their primary guardians died (ajs parents, tenns sisters). both of them can understand the responsibilities they have taken upon themselves, and how hard it can be to do right. the 4 of them become a tight knit group quickly. especially in EP2 as vi supports clem while tenn supports aj through the marlon fiasco

her confused relationship with minerva introducing interesting conflict both within her relationship with clem (who has her own personal conflict with minerva, which vi still ties into through her relationship with both minnie and tenn) and the over arching plot, which has themes of learning when to let someone go because they are no longer who they once were (clem and lilly "we were family once", mitch about ms martin "you get all caught up in who people used to be, and you cant deal with whats in front of you", violet about minnie "the real minnie? shes been gone this whole time and i have to stop mourning her")

having a saved violet on the boat expanding the conversation with minerva about her motivations with the delta. violet apologizing for never looking for her, minnie saying she knows she would have but that its too late now, so sure this is just the way things have to be. getting to hear minnie say "you can be rewarded, just like i am", giving us insight into her character. and clem getting the last word before she rams the door down, her and violet fighting minnie Together. and violet saves clems life, making the Choice to shoot minerva, which in and of itself is a huge moment for violets character in regards to her relationship with both minnie And clem

and aj shooting tenn on the bridge brings things full circle, by putting violet in the same position louis was in EP2, where aj has killed the most important person to her, in an effort to save her life, and now she must reckon with those feelings the same way louis had to about marlon. not so easy now is it violet? ("so youre mad, but sad" "can i be that for a while?" "yeah, its ok")

just... ough... violets whole character just fits into Everything so well, but in a way that elevates the characters and plots around her, while also developing her into her own

[anotherpapercut]

I don't think y'all 2 parented people understand what it was like to be a kid who only knew 1 parent when Percy Jackson started becoming really popular. my entire early childhood I was the odd one out, constantly being asked what happened to my dad. this series changed the fucking game entirely. we talk a lot about what it did for kids with learning disabilities, which is also extremely important, but I think it's time we acknowledge the way this series normalized and even sort of glorified having a single parent in a way nothing else ever had

[bmpmp3]

yesterday in vocal synth news

[gothteddiesdotcom]

I think that part of what like. kills me about the whole media literacy and critical thinking aspect of enjoying media these days is that people refuse to like. contextualize that

A. Bad media can still hold significant meaning to people

B. Media made for a demographic you aren’t apart of is not inherently bad media

C. Media made for and consumed by the opposite demographic is not inherently shallow or flawed nor is it above criticism for its media tropes either.

[no1ryomafan]

I don’t know what the release status will be of my Komyoji and Saotome family essay since a lot of people still need to read it-plus if I do another long form post on here it should be another damn lyric analysis on deep red or burn the run cause I’m slacking 💀-before I can really finalize it but one thing I do have to spoil about it is I’m low key sad after seeing how Mitsuko was handled that New Michiru feels less like a improvement of her character and just “she’s different because she felt like it ig??”

I don’t wanna downplay New Michiru as is she still the first iteration since toei of her to be an actual character? Absolutely, but I feel selling her as the best iteration is a little much when the writers didn’t use her enough in the story since she still is JUST a supporting character who doesn’t really get a character arc and also her personality being changed doesn’t really give her any benefits. Like don’t get me wrong Michiru being mean is FUN, but it feels like it was only done to give her more of a personality then uwu nice girl even though Mitsuko demonstrates you can still make that archetype compelling. But ultimately her being meaner also serves her from being less forgettable cause otherwise she barely needs to be in this story, like you can sadly take her out of New and not a whole lot would actually change.

…New Getter still peak tho.

[sskk-manifesto]

♡

[todayisafridaynight]

What do you think Mine’s reaction to Masato / Aoki be like?

tbh they'd probably be. amicable. at the very least.

[xoxo-ren-xoxo]

it's controversial to say this i guess but i genuinely believe last life was the least interesting life series season and youre all lying to me about enjoying it

[kohakhearts]

yeah im thinking about the full version of 1・2・3 again yeah its making my brain a little mushy about The Characters

[halfdent]

on caped c/rusader Harv . the last two episodes felt like the best decisions they made with the character . It was almost like 'okay right decisions good job but wrong Harvey . " like if that last episode happened to my baby girl ? ;-; it would be far more of a loss . BUT I also understand that they were playing Bruce as an asshole too and they reflected each other and both changed , Bruce changed because of Harvey and seeing him actually get upset about him at the end was a nice beat but they had missed so many beats before that . It's hit and miss . Everytime Harv apologised for Twos and was accepted I was like :] that's nice . And I liked all those moments and the restaurant scene a lot . I still can't trust T/imm with Barbara after everything but her and Harv teaming up was wonderful .

I also thought , and no disrespect to the voice actors I'm sure they were doing their best with the directions they had but honestly they were the wrong voice overs for the parts of Bruce/Batman and Harvey/Two Face.

I need directors to understand that the best Harvey Dent NOT TWO FACE [ because this is paramount before even thinking of Twos ] is a Harvey who baby girls his way all over the place . The results don't lie .

[qumiiiquinnquin]

ill never be good enough at anything

[bmpmp3]

Getting into stuff that has a lot of pre-announced release dates is really good for me like vocal synthesizer products and new love live etc franchise music releases....I'll be lying in bed at like 2 AM with ur usual 20-something's fear and existentialism over time and the future and then I'll remember a piece of singing software or a new song related to cartoon characters I like is gonna come out like next month and I'm like 😌

[yourstormthlaylirahh]

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