sweetlyburningobject-blog

[laugtherhyena]

The funniest thing to me about the new adventure time cartoon is that in the Fiona and Cake show the characters i liked the least where Fiona and Cake themselves 😭

[thebottomfromhell]

ONE-SHOT

Male Human Reader wit AHDH is too impulsive and the Hantengu Clones must be saving him

Requested by @tanakomio by a comment, I hope you like it.

Warnings: Non character human death and Slight non-sexual infantilization of reader.

You have a hard time thinking things through... well, depends. Sometimes you think too much into something, something that weirdly enough, everyone else deems it unimportant or just a detail of the whole picture. It's important to you. Other times, things that others say are extremely important and require your whole attention seem... secundary. That or they are simply boring enough for you to forget about them the second something more interesting appears in your mind.

That is one thing that you like about the clones, that there is always something to pay attention to. They are all different emotions, so each one is easy to understand by their own. It's easy to feel part of the group, at worst, and desired, at best. So it's good. They don't critizice your for your quirks, or tell you to "behave like a gentleman", or stop you from doing whatever you want, or ignore you or tell you to stop talking and listen to the other party for a while or to stop moving around, or that you missed the topic completely or nothing/everything. You adore being around them. To join in, so sometimes... you also forget that you are not like them and that they are not like you.

You need to remind yourself that they don't eat human food, specially when you like something yourself. Sometimes you have a meal or dish or dessert you just love and need to share it, only to have Sekido, Aizetsu and Hantengu remind you that they can't eat it without getting sick. Even when they tell you you sometimes still reassure it's safe, even getting a bit hurt by the rejection (nad the change in your tone make it notice, even if you yourself don't notice you sound angrier) until you remember... no, for them it's not. It's not that they are rejecting something you like, but they are built differently. It's even harder to forget as Karaku and Urogi do eat whatever treat you offer, but the reminder always end coming back with them throwing up shortly after. And all because your maing thought was "I love this so others must also love this hence I need to share it to share my love".

You also panic, sometimes, when they get hurt, moving around and playing with your hands, scratching your skin or pulling your head or whatever can help you think and avoid stress as they heal up. Still, sometimes you get too caught up in your thoughts and actions that you don't notice. Your main thought was "they got hurt and I need to help. How? I don't know how" and so. It takes a while for any of them to get your attention, alrady feeling distressed, and show you... they heal.

It happens with different things that your line of thoughts it's on another place, so it takes a while for you to remember "they can't enjoy the sunny day at the lake because they will burn", "you can't jump off the cliff with Karaku and Urogi because you will die while they will heal or fly", "you can't share your favorite dessert with them because they will get sick", "you can't stay awake until one of them sleep because they won't be sleeping at all", "you can't ask for family and friends because they don't have any", and so on, realizations always hit hard, even if you already had it once. They make sure to protect you, and Sekido with Aizetsu tend to be the ones to make sure you don't do anything too risky. Fighting is no different.

Now, for wxample, you just saw another man cut Aizetsu's neck, not fully beheading him, but still. You lost it, you got angy, stressed, so you didn't manage to listing Sekido from afar scream at you when you run out of your hiding spot "UROGI, Y/N OUT OF THERE! HE IS AT IT AGAIN! Y/N, YOU FUCKING IDIOT! DON'T YOU DARE DO ANYTHI- why do I even try?!" (they always try to hide you, but you get bored waiting for them to finish and too anxious of not being able to move so the still tend to check on you). Urogi, noticing, flies to the direction of the slayer that cut Aizetsu as you got near the other human, dropping another he was carrying to the air. Karaku makes the body Urogi had play away, making everything around him tremble with on swing.

That makes you stumble a little, and everyone that was using the ground for support flinch, which thankfully stopped the slayer to stab you out of reflex, as you didn't even notice the sword going to your direction. "" Urogi grabs you by the arms with his feets before moving you both to the side as Aizetsu stabs the slayer's spine and cut it up wit his spear, killing all the nerves in one swing, making it as painless as it can be from behind without going for the neack and skull. That was the last one.

"UROGI! LET ME GO! LET ME GO! I NEED TO AVANGE AIZETSU!" The named one sighs, Sekido palms his face and Karaku goes to catch you as Urogi does let you from a bit more of 7 feet height. You wouldn't have diend, but it would have hurt. Karaku does stumble a bit with catching your weight properly, you are not that heavy of a man for a demon to not be able to hold you, but he didn't want to hurt you by not catching you properly. "Hey, hey. Handsome. Aizetsu can heal. No need to get upset baby, look, he is completely fine right now and Urogi is about to eat the asshole that hurt him. It's all ok." It takes a time of soothing for you to process his words and turn around to see Aizetsu sitting quietly, raising his hand slightly to show he us there and fine.

"He is grown ass man, stop treating Y/N like a child!" Says Sekido, but you don't pay attention to him as you throw yourself to hug Aizetsu, glad that he is ok. "And can't you stay still when your life depends on it? We always have to go and save you brom your own impulsiveness!" Urogi talks with his mouth full. "Burth ya dn't da anythang." Sekido looks ready to kill him and Karaku as the pleasure clone laughes. Meanwhile it's Aizetsu's turn to scold you softly.

"See? I'm fine. Don't be so reckless next time, you could get hurt and that would make me sad." He knows it's useless to try, you will probably forget this conversation within a week or so, but he worries about you, thay all do the same way they care about you. So they will make sure that your hyperactivity, troubles paying attention and sometimes even lack of awareness of your surroundings don't kill you.

[alarrytale]

I also think Harry wants to get an EGOT. But I don't really think that was the reason for him to get into acting. I mean, Harry can get an EGOT just by writting songs for soundtracks or by having producer credits in things like TV shows/broadway shows, etc, he doesn't need to act to get there.

I think he went into acting probably because he was encouraged by his team to do so. A lot of pop stars have done the same in the past, more or less successfully. Getting themselve in a different industry, acting, in this case, will keep them relevant even if one day their albums underperforms. It's basically their way to try to expand an artist shelve life by making them known by other things besides music and establish them more as household names.

I also don't think Harry has ever seemed super passionate about acting nor that he thought he would EGOT becuase of it, as I said. I really think it was just to make him more of an household name, which they achived, because even though DWD was a disaster it made everyone aware of Harry, even people outside of his target demographic, and lots of people who didn't know who he was before.

And yes I also don't think Harry is super talented acting wise, but i actually think he is able with the skills he has to carry secundary roles of the same size of the one he had on Dunkirk. And if Harry and his team want him to keep acting he should go for those type of roles, small ones.

About his co-stars, I agree some of them resented him a bit for taking the focus away for them and the other things you mentioned. But that's a bit inevitable. Harry has reached a level that he has more star power than pretty much any actor from his generation, so unless Harry ends up in a movie with older and really established actors, or he will always end up being the focus for the media. I mean, even in Eternals, with The Angelina Jolie there, during the press tour they did for the movie every two questions were them asking the actors how it was to work with Harry.... There's not much you can do about that, I don't think... maybe Harry is too famous for his own good.

Also, about Harry being too famous for his own good. Just to say, on his defense, that most of Harry acting performances were not that good but they were also not awful. I 've seen way worse from professional actors and none of them got so much shit from film critics as Harry did. As I say once again because he is too famous for his own good, film critics couldn't miss the chance to try to knock him down a peg or two, they can't stand seeing someone be too successfull... Either way, even though Harry is surround by yes man I think he indeed knows about what those film critics said about him. And I actually felt bad for him last year because it seems that he takes to heart the things people say about him and critics didn't want to back off of him for shit. Either way, I'm sure if he wants to keep acting he will do acting lessons or something like that. Harry seems like a prefectionist.

All the anons about actor harry and my answers are under the cut.

The opinions vary, it depends on several things, but from my point of view, i agree with you.

Hi anon(s),

I agree with you, that might have been his motivation. Extending his shelf life is a good argument. I don't think he's good at acting, but also not the worst. He's just lacking natural talent and he hasn't the time nor inclination to improve imo.

I also think that Harry is not a good actor. His facial expressions are overplayed and put on (David and Ruppert are, conversely, full of “inhabited” finesse). Harry seems off when he plays. I'm sorry for the fandom but it's a fact.

what happened with the dunkirk cast ?

Nothing other than harry seemingly hanging more around the crew than the cast. It seemed like his cast mates resented him for getting the role, or they simply didn’t get along very well. I don't think they're in contact now.

Coming back to DWD, I get that you haven´t seen in because of the second hand embarassement and of course you don´t want to support OW....but is there a chance that you´ll watch it just out of the sarcasm when you know he can´t act // it needed that awful stunt and surrounding drama that became famous than the movie itself and maybee to see the difference between true actor (Florence) and singer-became-actor-because-that´s-popular-now? I mean, I watch sometimes bizzare things just because I know it´s bizzare.

(plus there´s this option to not supporting her by getting the movie you-know-where haha)

And talking about actor Harry - it´s probably also unpopular opinion but I really hope his contract with Marvel will somehow get cancelled because for me 1) Marvel´s totally desperate since Avengers Endgame and every movie after the last Avengers just sucks and so 2) getting Harry involved as a character just shows how desperate Marvel is - and I get that it´s all about money actually but still - please, Harry, you don´t need to drag yourself down this way.

If he´ll continue acting, I would prefer to see him in those small/indie movies with less famous actors. Like Taylor and Nick from RWRB.

And last opinion - I have a theory why MP went much better like how Harry fits in the cast simply because they got to know each other before filming (they had like 3 weeks for reheasals and to know each other?) and he probably felt much more comfortable with queer people who understood him and he didn´t have to pretend. Btw I also have a theory that David knows he´s gay like Harry told him because he´s gay himself and so Harry knew he can fully trust him and be open. And that´s maybe why Harry doesn´t follow him on IG because they maybe got stronger bond and so he doesn´t want any gossip (it´s enough that some tabloids wrote he had something with Emma omg). But that´s probably stupid theory, I don´t know.

No, i won't watch it. I have no inclination to do that at all. I agree with Marvel, i hope they changed their minds (if the rumours are true) and we've seen the last of his acting. About mp, yes maybe, but i just think he had better motivation to do the film. I think both David and Emma knows he's gay and with Louis. I don't think H is that close with David, also ig followers means nothing.

[incorrect-au-master]

Which Lore Olympus characters do you think should get a spin off?

Hm... hard to tell. Probably Eros? But he already has his own stories during the series, just like most of the secundary characters. Probably the ones that need it most are those who have least apparitions but we love.

A spin off with Eros and his siblings would be amazing.

Also with Semele, she deserves more time in the comics, Dionysus too, once he gets born.

It would be nice to see what Nyx is doing in the current time.

Hecate deserves her own show. Hermes probably too.

The Fates would be a nice one. Also Demeter's nymphs. And the Furies.

Perhaps something The Office-like but with Underworld Corp's employes?

Being a series based on so many greek myths makes it hard to choose. After all, most of them are MCs in their own myths and stories.

My AU is already a spin-off if you think about it, and you could say it's main cast is the Underworld royal family, specially Macaria, Melinoe and Zagreus/Dionysus.

[from-red-string]

Instinct

I'm so nervous for posting this for Day 3, I worry if anyone would read about Ana and Mora since they're not even secundary characters, they are just extras not in my heart but in the show, and this made it harder to write it. Anyway, it's here and I hope you like it.

Shout out to @sapphire374 for easing my worries and beta reading it 💛

Find all fics for Soy Luna Ficweek 2021, here

Day 3

Prompt: “Is this the second time we’ve both gotten stuck in the same elevator?”

Summary: The first time Ana and Mora got stuck in the elevator was when they stopped talking, a week later when it happens again: is it the time to rebound? or something more?

Warning: unfortunately it's not canon. Tino and Cato don't exist, they have never seen them, no one knows them in this fic

Genre: angst

Pairing: Ana and Mora a.k.a the lesbian moms

---

Another silent morning in the apartment, a rare situation for Nina. From what she could remember, there has never been a quiet day home ever since they moved in. Mora's sewing machine, some random song playing as background noise, or just Buenos Aires' downtown being crowded and busy. Although she appreciated the silence, it's odd, the girl is not used to it anymore.

Now both her mom and auntie didn't exchange a word, Mora has been working on arranging some photoshoots, she woke up for lunchtime and only came back late at night, while Ana left early for her meetings then arrived at 4 pm. Seems like they had it all planned out just so they didn't have to face each other. 

Nina didn't know what happened between them but hoped it would go away soon.

Well, unexpectedly it got different from other days from the beginning. When Nina left her room, Mora was awake and making herself breakfast. The girl checked the clock again, still at 7 am.

"Good morning, cariño" Mora smiled at her while Nina approached to sit on the chair.

"Morning." She reached for the bread slowly, hesitant. Her instincts told her to move carefully. "I thought I'd only see you later." Mora laughed but it was too stiff.

"I have to drive 3 hours to check for some special fabrics I'm looking for." The redhead tried to show excitement, however, such a rush manner showed her nervousness. Nina knew it wasn't about the fabrics. As soon as the clicks sound of Ana's heels started, Mora stands up. "I really need to go. Bye, darling." And left through the door carrying her purse, phone, and keys.

"Good luck there." Nina greets her and takes Mora's plate away immediately. She'd rather not step into whatever happened. Ana comes from her room in a rush and Nina wide her eyes when her mom gets to the front door. "Mom, you can't leave without eating."

"I'm late already. Sorry, cariño. I'll be back early. Bye… Hold the door, please!" Ana fleed before Nina could react. The girl opens the door to check on them but they were already gone. 

The silence from home followed them into the elevator. None dared to look up from their phones. Mora started to tap her foot impatiently when she noticed the elevator was slow today. 

"Can you stop?" Ana asked, staring at her screen.

"Oh, good morning. Now you can see me." Mora smirked, still avoiding Ana's face, kept tapping her shoe.

"More like I can hear you. Always so noisy."

"Can you? It didn't seem like that last week." The snark got the fashion designer, she provoked back looking at Ana and waiting for a reaction but she got nothing. "Back to ignoring me. Hope Mario has a better shot talking to you than I do." The lack of response from the lawyer building up her annoyance. "Even though we live together and have been friends for a lifetime. You rather believe in him than..."

"Give me a reason," Ana said, losing her temper. The elevator stops, slowing down. "I need a plea." Walking side to side in this shiny box they were failing to realize they were trapped in.

"My instincts are not a good one. I don't trust him." Mora decided to watch her friend through the reflection, pretending to fix her hair in the mirror.

"Of course not." Ana laughed at her. "Do you think I can defend a case based on your feelings? A judge would accept it, declare him guilt for you." Her voice was cold, but the rage -boiling inside was still audible.

"You're not a judge, Ana." Turning around she steps in Ana's way, staring at her. "Ain't a case but your life." Each word was another step forward, the lawyer's back hit the wall, but she wouldn't give up on a debate, her index finger touched Mora's shoulder.

"That's exactly the problem." This time the designer was the one walking backward. "My life is never good enough for you. I can't even decide on Nina's life without you around." Mora's jaw dropped and she stuttered, with a non-comprehensible sound coming from her mouth. "Not even a boyfriend." That's the moment Ana breaks, lowering her head and resting on Mora's shoulder while the other was glued on the wall, still recovering from shook, nevertheless, she wrapped her arms around her friend's body. 

"I… I'm sorry, I didn't… mean to make you feel less..." trying to find words at that moment was completely useless, not even in her wildest dreams she would have imagined she made Ana doubt herself. Her friend's knees seemed to give up and her body weighted, they sank to the floor while Ana let out all she needed to. It's been ages since the lawyer opened herself like this, they were best friends, Mora knew Ana has been holding up for who knows how long, well if that's even considered opening up. 

All the signs Mora neglected before came down on her. Ana has been distant for months, she pushed Mora away, anytime they were alone and approached each other, Ana would step away like her skin burned from the contact.

Mora kept Ana pressed against her body until the very last tear she had, waiting for her to calm down. Once Ana's sobs were more spaced, she raised her head displaying her red cheeks, Mara's heart stings with this scene, her hands capture Ana's face moving toward her until their forehead touches.

"I'm sorry, I..." Shutting her eyes, unable to face the tears that still shine on her lover's face. Guilty fell hard on her shoulders. Ana fought to be an independent woman who could support her daughter without her ex's money, Mora watched how much she struggled to get there, yet the main person who helped her in all her lows is also the same who stuck her nose in all her matters, Mora was both a guardian and a butcher. Now that she has to take a good on her actions, Mora told Nina she should follow her heart and go after Gastón if that's her desire, while Ana, Nina's mother, had explicit disagreed about this idea. She should've considered that maybe she wasn't helping Ana see another point of view but making it harder to care for her own daughter.

There was an even worse thought haunting her, she told Nina to go because she feared Gastón would repeat her story, going to another country and losing the love of her life, forever wondering what would have happened if she stayed. That thought scared her, she denied it to herself but it had lived in her mind for so long.

When Mora went to Germany, she made her choice, decided to go on an adventure instead of staying with Ana. She was young, by the time believed they would still be the same through distance, their relationship wouldn't change, but that's not what happened. It came out to be harder than she thought, they never revealed themselves as a couple, it was so natural for them to be together like that, the sneaking out, sleepovers, kisses, and loving moments were part of their friends, they didn't feel the need to label that. Once distance came into the scene, it got complicated, both noticing how much they missed each other, although not willing to give up on their paths, not labeling their friendship made it easier to move on, no one but them knew what went on inside those walls, they just had to keep going. They never stopped talking completely, they called each other every other week updating about their lives, never talking about their relationship, how they missed each other's touch.

When Mora visited Argentina, she learned about Ana and Ricardo's relationship, they were dating, that's when what was between them seemed to be forgotten by Ana. Mora was happy for her friend, of course, but they never left her mind.

Nothing happened while Ana's married, Mora's life went on. Both of them supported each other, and were always around. Nina's birth was emotional just like all the previous months Mora spent by Ana's side. They never regretted the choice that took them to that day.

Then suddenly came the divorce, not long after Ana needed a place to stay with Nina, Mora's house was always open for them, so they started to live together. 

The intimacy level acquired from sharing the same place made them go back to their old ways. Little by little, their old friendship came back to the same mold from when they were young. Sometimes they kissed after drinking some wine, sneaked to each other’s bed after Nina went to bed, or just cooked together and held hands during dinner. Plus, small touches in public, taking care of Nina, going to the supermarket. Small domestic daily moments that made them feel comfortable. 

Mora finally had it in her hands, everything she imagines. Then, Ana backed away, slipping through her fingers. None of them said a word about it, the unspoken words lost in the silence.

"I'm sorry," She repeated, opening her eyes again, Ana shook her head, scaring Mora. "Ana..." She had to admit it, she knows it wasn't right to push her own experience on Nina.

"You were right." When Ana said that, More dropped her hands confused. Ana leaned back against the wall, now sitting by Mora's side and looking to the elevator's door. "Thiago is a liar." Mora was even more lost. Who the hell is Thiago? "He is married." Ah, he is the boyfriend. It wasn't that deep for Mora, nothing personal, she just felt it in her that guy shouldn't be trusted. She felt a little proud and bit her bottom lip to prevent herself from smiling. Ana looked at her frustrated. "You're annoying, I can see you smiling. Yes, you told me, whatever." Watching Ana complain was the same as seeing an old picture, Ana was still the girl from school days behind the successful lawyer and tough mom facade.

"Ana," She waited for Ana to look at her. "It was an instinct." 

"Shut up!" The answer didn't surprise Mora, but the small that followed it did. Ana closed her eyes and faced the ceiling, the smile glued on her face. "It's not that I don't want you in my life, you were always there for me." She faced Mora again. "But when it comes to Nina, don't disagree with how I raise my kid. She's a teen, just wants echo to confirm her ideas, they don't know the consequences."

"Nina is really responsible, you should give her more credit." Mora couldn't stop the words from coming out. When Ana narrowed her eyes, she raised her hands in defeat. "She had an amazing mom to teach her." Added with a wink making Ana laugh, she approached her face to Mora. The designer became extremely aware of the short space between them, a few inches to no distance at all.

"She's 17." They exchange looks. Too meaningful, too painful. That's the same age they separated.

"Why didn't you go?" It came out as a whisper, due to the almost non-existent distance Ana could hear perfectly, Mora should've stopped herself. That was a forbidden question. Ana immediately pulled away, looked at the elevator's screen.

They weren't working.

She picked up her phone to look at the hours, then looked at her watch. 20 minutes since she left the apartment since she left to her next meeting, she doesn't have to worry about it for the next 40 minutes. 

"Why are you up so early?" Ana questioned only now noticing how weird this scene was. 

"It's time to look for fabrics." Mora answered, snapping out of her thoughts. 

"You'll drive for 3 hours again? You should've scheduled it for later, you don't drive well when you're sleepy, it's early for you." Her worries were real, Mora wasn't awake before 10 am at least. Listening to her made Mora feel a little warmer and a wide smile appeared without her consent. "How can you drive? You didn't even notice we were stuck in here." Mora really didn't notice.

"Is this the second time we’ve both gotten stuck in the same elevator?” Mora joked that both of them laughed. "One time for the present, two times for the past." 

"Yeah, this time is fixing what the first time did." Ana reached for Mora's hand, intertwining their fingers. Mora caught her breath. A voice came from the speaker above the floor screen.

"We're sorry for the inconvenience. The elevator will be moving in a few minutes." Ana recognized the janitor's voice. Mora was stuck looking at Ana.

"We'll be free soon." Ana stood up, keeping their hands locked, then noticed Mora's eyes on her face. "Is there something on my face?" She turned to the mirror. Her mask was ruined, her cheeks were reddened and glistened from the tears, hair fell from the elegant ponytail she caged them earlier, her lipstick was smugged. She was a mess, but in Mora's eyes, she was beautiful. "I'll need to go home and fix myself." Noted annoyed.

"No, I can do it." Mora raised from the floor, got her make up from the purse to work with it. Ana decided to let Mora paint her as she desired, feeling a bit nervous but she wanted to show Mora she trusted her. Ana knows Mora is feeling bad for today's argument already and she saw every wince of pain that flashed in her dark eyes every time Ana rejected her touch.

Mora focused on making Ana's make up, trying to tone down her ideas for Ana's face and making something that would make her comfortable and pretty. It worked well until it was time to work on her mouth, Mora decided on a lip tint, in this case for her own sanity, lipstick would demand too much time working on a painting she wanted to ruin, too tempting. Her hand started shaking, Ana noticed it too but before the suggestion of doing it herself came out, Mora put the lip tint in her pocket.

"I forgot the hair. Lips are the grand finale." As soon as Mora had to reach her hand for Ana's she noticed that was a terrible idea. While Mora pulled the lawyer's hair free, Ana shivered at the quick contact of her hand against Ana's scalp. Memories from other moments those same fingers touched that place rushed back to her mind, her eyes closing to better appreciate the feeling. Mora saw this reaction and rested her hand on Ana's neck, watching the reaction until she couldn't help but lean in and close the gap between them, crashing her lips on hers quickly. The kiss was chaste, as fast it came, it ended. 

Seeming to Ana as if her imagination had created the feeling because when she eyed Mora, the lip tint was back and she was ready to place it. But the beam on Mora's lip couldn't be denied. It happened, an instinct told Ana it did.

[galvanizedfriend]

Klaroline Fic Rec Month

The event I made up for myself.

So this month, since I have no more fanfictions of my own to write, I decided I would take a little time to appreciate the amazing works of KC writers. I realize it’s going to be a challenge and I really hope I have the time to complete this, but I promise all the fics I rec here are awesome and worth your time! 

(let’s pretend again that I didn’t forget about this yesterday shhhhh nothing to see here)

___________________

KLAROLINE FANFIC REC MONTH - DAY FIFTEEN: The Birth and Death of the Day by Sunny Daisy

Or @little-miss-sunny-daisy

Summary:   AU "There's a war coming, Caroline." - the Forbes-Winchester blended family takes on the Apocalypse. Caroline/Klaus

—

Why you should read it: This is a rare occasion when the fact that the story hasn't been finished doesn't really make me frustrated. Not because I don't care about it enough, or because I wasn't skipping on my seat with anticipation, but because this was such an amazing journey that, frankly, I was glad just to read all 13 chapters of it. It warmed my heart anyway!

First of all, I don't like Supernatural. I've never watched Supernatural beyond the two or three episodes I tried to watch once upon a time before giving up. I don't know anything beyond the names of the main characters. And STILL I loved this story so, so much! The way the themes and plots from Supernatural were incorporated into the TVD world was just superb! I was never confused or lost, and it felt so natural that it made me wonder why the CW never worked on a crossover between the shows. Based on this fic, it really feels like something that could've happened.

Here, Caroline is Dean and Sam's sort-of-little-sister (Liz marries their father, who I only know as Negan from TWD). Their relationship is just the sweetest thing ever! Dean and Sam are so different, and the way they care for Caroline is so, so, so well developed. It's just 13 chapters, but I felt like I read through 56, because by the time I reached chapter 13, everything was SO deeply-rooted. And also Castiel!! AHHHHH!! I can't say which relationship I liked the most, honestly. All of them were so well constructed and worked into the plot.

There's SO much plot going on, and the story was building up to something I'm sure was going to be AMAZING and I was super excited and CARING so much about these three Supernatural characters I never gave an eff about. So much angst and so much drama, so much family stuff that happens - Caroline becoming a vampire, Liz, hell, angels! And on top of all that, there's KLAROLINE. Klaus is just there, being his evil self and trying desperately to woo Caroline, who now has two very protective brothers who don't like him at all, and while Sam is willing to listen and ponder, Dean is like FUCK OFF, YOU HYBRID BITCH. I was SO THERE FOR IT! The way the KC relationship is built in this world of Supernatural plot twists is just MAJESTIC.

Honestly, I don't have enough English words to properly describe how this story made me feel. This rec is not worthy of it. So I can only hope that you guys will believe me when I say this is SO worth your time, even if it hasn't been updated since 2014, because it is! It's probably one of the best, most well built TVD AUs I've ever read. The writing is absolutely fantastic, but it's the kind of thing that almost becomes secundary to how fleshed out and well written these characters and their dynamics is built. And the Klaroline, uuuuugh! ❤❤❤ Just perfect!

I'll just be here in my corner imagining how this story ends.

[twijfelaar]

Cloak and dagger is like this show that is always in the back of mind.

I sometimes forget there is a new ep or anything like that but when I watch it I am reminded how good this show is.

It is completely character driven, especially the second season and the leads are amazing.

Secundary characters are all fleshed out and with their own motivations.

So many strong black women on this show you wouldn't believe it is a marvel show.

Never sacrificing character for storyline, NEVER.

I personally believe this is one of the best marvel shows around.

[toomuchbroadwayquotes]

Because is friends #25th anniversary:

I'll do a 2019 AU, on how the show would go if it was scripted nowdays.

Rachel would be dropping off medical school instead of a wedding. " No, dad you can't keep paying for me to pass a class, i dont want to cut people open, i want to cut silk!, i dont want you to buy me silk dad ITS A METAPHORE".

She would be a digital influencer, and have a fashion blog. Would be "instafamous" in no time, but would have a hard time balancing her career and her fashion course at Uni (she gets a scholarship). And even tough she is is recognized, she only gets collabs and free samples, not actual money (to live off that), so she would still have to live with Monica, and work part time at the central perk. Ends up having a Family yt channel after Emma is born, she meets a cute Poc guy ( a model) that marries her and love Emma as if she is his own child. Ross is out of the picture once she realizes that their Toxic relationship isnt worth the work.

GRoss would be cancelled by season 02 because the fandom despite his annoying Ass. He would be a secundary character showing up randomly, only to be ridiculized and pay the price of his actions ( he is kinda like Janice would be on the original)

Susan and Carol the other way around, come back as part of the protagonists on s2, they tie the "women alliance" on the show together, and they have their own arc on the show, focusing on being a Young lesbian couple raising a little boy. Everytime Rachel have a fight with Ross, they support her, they have a blended family relationship since Rachel is their child's "stepmom" for a while, they get along pretty fine which makes GRoss pissed. (Can you imagine " Oh, no, im the stepmom, they are the moms" ). After Emma is born, they help Rach cope with this new part of her life.

(Lesbian represtation of a healthy happy family?yes please).

Monica works at a foodtruck at first, then que starts bloggin about her cooking methods and end up working for Tasty, the fans love her and she gets her own segments. She publishes cookboks, work at celebrities parties... She is Anxious Millenial™️ and goes trough the "i need therapy" arc, she tries doing yoga, meditation,and any other alternative for being in peace that phoebes comes out with, but at the of the day she goes home and just plays the most violent games she can find, she is really good at them btw. Also, hers and Chandle's journey trough infertility have way more screentime and they get to show their parenting skills and adorable funny moments with the twins.

Joey is bi and there is that. He is not out since the beggining so we follow his progress into accepting his own sexuality, and embracing sensitive side. Specially as a young actor is super hard for him, since he is afraid of falling on stereotypes, but the worst fear he has is losing Chandlers respect ( cue emotional scene when he finally opens up to Chandler, that ruin everything making a terrible joke, but then says the right thing ♡) dates a lot, but also have a couple of good relationships (because he is Soft and deserves better).

He goes viral after making a total mess of an interview and spilling Major top secret content of a project, and becomes the white boy of the year.

Chandler is Just Chandler, nothing says millenial better than sarcasm, loyalty to your friends, falling for someone you know for ever, mas having terrible unhealthy habits, oh, and having a fucking weird job no one understands.

First:add poc and minorities in general, EVERYWHERE.

Phoebes is also pretty much the same: speaks irony fluently, passionate vegan, boho style. Is addicted with making everyone's astral map.

Caries those cristals with healing powers but would puch a woman in the face if she hears antivaxx bullshit. Feminist, activist, anarquist.Makes fun of her own dark and depressive lifestory. Thinks she can make it as a Singer,but end up becoming a stand up comedian telling her streetlife stories that are so absurd, that no one takes it seriously.

[translationandbetrayals]

How Miyasaki's princesses subvert story tropes

The main interest of this essay is the characterization of stories as a means to express ideas of ones identity and how one can mass media be used to set a positive example of this, this will be explored in the first half, while the second half shall focus on making a contrast of Miyasaki's female characters and the different ways they can be used to explore themes of conflict of interest to both young adults and children as a set example in storytelling, to the way western media may follow this same steps and lead to a lack of representation. Stories are a way for us to comunicate, and through stories we can construct worlds and characters that we consider important and want others to feel the same about them. For children, the stories that they hear and consume in media are even more important, as they are yet to form a proper image of the world and they affect the way they form their convictions and how they interact with their peers. The fact that most westernized media ( along with lots of current anime characters in young male oriented shows) represent women as either sidekicks, love intestests or the classical princess in distress that have appeared in European stories, later animated by Disney, has led to an overrepresentation of this qualities, and this has affected the way kids and and even teenagers see gender roles and how young girls may consider their goals and their position in society. The greatest element present in Miyasaki's films is that, not only does it set some very important viewpoints in the relationship between progress and the preservation of nature or it's stand againts war, but that this important set pieces are carried on by strong, versatile women whose role is to protect their convictions of all conflict present in the story: The fact that characters like Princess Mononoke or Nausicaa exist is extremely important as they not only are present in a world of conflict where they take their stand and males are in a secundary role, exploring this world and taking what would be the female role in western media, but the fact that the stand is conflict is also represented by a female character( take Lady Eboshi in Irontown from Princess Mononoke) is very important in that it doesn't fall into conflicts of gender, but reinforces the fact that women can also be in positions of power and standing by their convictions. For western media this is just recently portrayed in the last decade of Disney films, (by notable exceptions such as Mulan) and has been a main issue in the portrayal of women as fragile individuals in wait of a male character to be their aid, this results specially troublesome in how Princesses have been constantly portrayed in western media as it imposes ideas of women having the necessity of fullfiling family roles and traditional values instead of what could be their own convictions(take Aladdin, Hercules or even the Lion King for a non-traditional example of these). Another great element, which makes less of a political statement but still is relevant from a narrative standpoint, is that Miyasaki's films create extensive worlds (by reinventing many japanese traditional imagery) and setting young female characters to explore them in different ways and rise from a "standard" female role in the story into a woman free from previous obstacles and free to live by their newly formed convictions. This process of growth is an important step for kids to understand and internalize as they grow and the fact that Studio Ghibili was one of the first to set this in Mass Media as is Cinema is encouraging. Take Chihiro from Spirited Away, of Sophie from Howl's Moving Castle, both start as young, inexperienced women that end up inmerged in this new and strange world which they explore and grow and learn from their more traditional counterparts ( Yubaba for the former, and Howl, Howl's teacher and Sophie's family for the latter) for them to finally emerge as made and strong characters ready to make a stand in this now experienced world. In conclusion, the early presence of Hayao Miyasaki's work in media sets a precedent for constructing media that is innovative from a narrative standpoint and permits children and young adults to set themselves in this new worlds and learn the value and capacity of women to be resolute and strong minded and create a healthier mindset toward gender roles and representation of women with it, the fact that a few of these characters are mentioned as "princesses" is also very important as it lets you make a contrast between different portrayals of such and let's this differences ring harder. The slow yet constant expansion of these ideas in massive western media (take Disney films from the last decade for example) as clearly influenced by Miyasaki, prove to be a hopeful image for what are the films to come and how future generations may learn from them.

Essay made by Diego Ramírez

[psychanalyse-et-psychopatho-blog]

Psychotic elementary phenomena and ordinary psychosis.

François Sauvagnat (Paru en danois: Sauvagnat F: Psykotiske elementær- fænomener og ordinær psykose. Drift; Tidsskrift for psykoanalyse, 1-2, 2013, p 27-44.)

Introduction

The phrase" ordinary psychosis" is currently extremely popular in Lacanian psychoanalysis, in spite of the translation problems that have occured: in South American Spanish, "ordinario" is frankly derogatory, to such an extent that some colleagues have preferred "psychosis actuales", on the basis of the Freudian idea of "actual neuroses" (neuroses in which no symptom formation is obvious). In the following lines, we will discuss three points. 1) The difference between "ordinary/extraordinary" psychoses 2)The relationship between "ordinary psychoses" and elementary phenomena 3) The advantages and limitations of the notion. From extraordinary psychoses... The phrase “ordinary psychosis” was coined around 1997-2000 (Conversation d'Arcachon and Conciliabule d’Antibes) to designate forms of psychosis that did not have the “extraordinary” quality of cases like Pierre Rivière, DP Schreber, Georg Cantor, Otto Gross, V Kandinsky, Attila Jozsef, Ernst Wagner, John Nash or Aimée, which have to some extent become "classical" cases. If we try to specify what has made them such, we find that they: 1) Displayed unequivocally and publicly psychotic pathology 2) Were able to bear witness of their mental functioning, most of the time by writing their memoirs and sometimes with such precisions that they were able to criticize the accuracy of psychiatric knowledge of their time. Most of them have been the starting-point or have been paradigmatic of psychopathological and/or psychoanalytic elaborations: Pierre Rivière has represented an extreme case of monomania, by his capacity to dispaly alternatively common sense, full-blown delusions, and lies; DP Schreber , in his memoir, writes a full blown critique of Kraepelin’s theory and demonstrates his capacities to stabilize his psychotic experiences by transforming them into a religion; Georg Cantor has not only magistrally contributed to set theory, but made it plain that his pathology played a major role in that; Otto Gross has been a major contributor to the concept of schizophrenia; V Kandinsky, thanks to his auto-observations, has been at the origin of the Kandinsky-Clérambault syndrome;Attila Jozsef has personally contributed to psychoanalytic theory, Ernst Wagner has described at length his delusions of relation, written theatre plays, and been cited as a living example of paranoia, John Nash has claimed that his delusions appeared to have the same accuracy as the probabilistic formulas he has created and Aimée has contributed ample documentation, not only of the various moments of her delusional experiences, but also of her poetic talents. 3) They caused to a large extent some stirring or even scandal by exposing their pathology, mainly because their mental abilities did not allow to think of them in terms of mental deficit as they showed exceptional creativity. 4) All of them have been considered as exemplarily demonstrative cases and used as such by prominent clinicians, who were able to underscore the unique qualities of these individuals. In other words, the reception of their subjective experiences was not less important in making them look “extraordinary”, than their own message. Pierre Riviere‘s case was discussed by alienists of the 1830ies long before Michel Foucault exhumed it; DP Schreber has been a major occasion of psychopathological debates, not only by his own psychiatrists, but also by S Freud and a whole array of major psychoanalysts including J Lacan; Georg Cantor’s case has allowed Imre Hermann to elaborate his mathematical phenomenological and psychoanalytic theory of manic-depressive states, and J Lacan to complete his theory of object a as a “frame”; Attila Jozsef’s case has been used as an argument in the discussions on psychotic transference, schizophrenia and psychotic borderline states; Ernst Wagner’s testimony has been used by Gaupp and Kretschmer to implement their idea that paranoia could be curable, and he was presented in several psychiatric congresses as the living proof of the existence of paranoia as a discrete entity; Aimée’s case has been amply used by J Lacan to justify his psychoanalytic and kretschmerian theory of personality. Although psychiatrists and psychoanalysts have not been very prolific on John Nash's case, a few remarkable publications have nevertheless underlined the specificities of his delusional style (Sergio Laia; Alain Cochet's doctoral dissertation). ...to low-profile "ordinary psychoses" Whereas these cases can be said to be exemplary in all these respects and in some way, heroic, there is little doubt that the great majority of persons with psychotic symptoms present a much lower profile. They are bound to appear much more “normal” to the man in the street, even if that term traditionally inspires some diffidence in Lacanian psychoanalysts; they would not elicit much more than a highly ambiguous diagnosis of “borderline personality” from psychiatrists and mental health personnel;to the outside observer, they would not show a clear-cut “triggering” or breakdown from a previous "apparently normal" state. In other words, they are not bound to inspire special interest, sympathy or passion to clinicians; and they are also bound to be misunderstood as neurotic or even perverse cases. In spite of all that, whenever they have the opportunity - or the willingness - to express what’s really on their mind, they would mention psychotic elementary phenomena. These cases have been termed, since the publication of the volume entitled “La psychose ordinaire”, ordinary psychotics. They are currently considered much more difficult to diagnose than “triggered psychosis”, and of course they also have opened a wide field of interrogations about what we really know concerning the mechanisms of stabilization or defences a psychotic subject is able to display. Among these interrogations: 1) Is this really a new paradigm, ie are these cases different from “classical psychoses”? 2) To what extent does the classical lacanian theory remain appropriate to understand such cases? 3) Should the theory of elementary phenomena be modified? Insomuch as the Lacanian theory of psychoses rests mainly on the notion of elementary phenomena, we will start with the 3rd question , and then try to answer the two others. What are psychotic elementary phenomena? The phrase “psychotic elementary phenomena” is still not familiar to clinicians belonging to the Anglo-saxon cultural domain, in spite of several publications that attempted to clarify what was at stakes. It is essential to the Lacanian diagnosis of psychosis, but has been widely misunderstood even in some French-speaking circles. As I have devoted a number of papers to this theme, I will try to summarize the main features of this notion. Its origin can be traced back to German and French psychiatry at the end of the XIXth century – mainly in the circles that tried to make the best of the new neurological knowledge gained in the study of aphasic syndromes after 1870. The general idea was of course that if neurological lesions could be proven in the various forms of aphasia, the same was likely to be found in psychotic symptoms since language pathology was conspicuous in them. In fact, although the phrase “elementary symptoms” is to be found in Kraepelin or Wernicke, "basic phenomena" in Clerambault, “elementary phenomenon” proper is much more characteristic of Lacan himself, and as we shall see, he gave it a special quality which was hardly to be found before him. To make a long story short, the failure to find neurological lesions univocally responsible for psychotic symptoms had lead most French clinicians to fall back on the notion of “psychological mechanisms” constituent of delusional states. The notion supposed that in a given clinical case, what the French called a "tableau clinique", by tactfully questioning the patient, you could trace out the different layers of the delirium, constituted by the action of these mechanisms; sometimes, these mechanisms appeared to function in a pure manner, other times they were mixted, some of them appearing more "primary" and others more "secundary". For instance, a psychotic individual attempting to murder a political leader could have experienced verbal hallucinations, and secondarily tried to explain them as the result of the evil deeds from the politician’s party, to finally arrive at the conclusion that he had to destroy this man in order to restore the laws of the universe. This was for instance the kind of explanation favoured by the followers of Magnan. However, Régis, who studied at length this sort of case (which he termed “regicides”) found that in a majority of cases, the primal phenomenon was delusional interpretation, ie a delusional insight, a sort of revelation in which the person found that he had a mission to save humankind, and from which he gradually deduced the necessity to uproot the current sovereign. Another example: in their classical description of the "illusion des Sosies" (what is currently called "Capgras syndrome"),Capgras and Reboul-Lachaux expose the case of a female patient who showed a combination of hallucinatory, interpretive and imaginary mechanisms; while some of the imaginary phenomena (she feels that she should save detained babies) represented on one side an attempt to explain auditory hallucinations, some others (the belief that her relatives were being modified) were influenced by interpretive mechanisms. In fact, the examination of the various kinds of elementary components of madness and their combinations became characteristic of French – and to some extent of German psychiatry (especially Carl Wernicke’s Breslau school) at the turn of the XXth century. By then, a number of mechanisms had been differenciated: - various forms of verbal hallucinations, ranging from very sensorialized to “silent hallucinations” that were practically indistinguishable from delusional interpretations, - delusional interpretations, ranging from mere intuitions to highly rationalized explanations - imaginary mechanisms, believed by some clinicians followers of Dupré to be at the root of psychotic mythomania and megalomania - discordance, a mechanism described by Philippe Chaslin as being fundamental in schizophrenia - delusional negation, a mechanism proposed by Cottard as being at the root of psychotic forms of depression (“mélancolie délirante”). Whereas these mechanisms enjoyed overall consensual recognition, other mechanisms remained more controversial, like “pathological passion”, a mechanism Clérambault presented as constituent of “pure erotomania” and other “psychoses passionnelles” ; and there was some uncertainty over the mechanisms underlying manic-depressive disorders. Besides, if these mechanisms appeared as mainly intellectual, they were understood as being paralleled by corresponding bodily experiences. For instance a persecutive idea determined by a delusional interpretation could, at times, be replaced by delusional hypochondria; mental or verbal discordance could also be expressed by bizarre motor antics and/or by disorders in body structuration; delusional negation was described by Cottard as a discreet state of mind, a sort of constant pessimism which could convert itself into the idea that the environment did not really exist anymore, and that the patient's own body was rotten, destroyed and immortal. Nevertheless, it was understood that in paranoia, the subjective experience of body structure remained relatively intact, whereas the distortions were maximal in schizophrenia. It was clear to everybody was that these mechanisms were intimate, “primary”, and that they usually were not easy to express. Most of the time, patients displayed secondary symptoms, some of them direct defences against the mechanisms, some of them negotiated with the environment, as Arnaud and Clérambault had demonstrated in some cases of délire à deux, called délires imposés where a frankly delusional patient practically negotiated the recognition and justification of some aspects of his delusional experiences with a significant other, this latter person being a neurotic ready to admit a banal and readily understandable persecutory claim, but nothing more. Now what were the main changes brought about by Lacan? To make a long story short once again, at least three things. Lacan seems to have, from the start, considered that the basic phenomena (as Clerambault for instance called them) should be called “phénomènes élémentaires” and considered as constituents of what he called “personnalité”. He did not deny that some biological causality might be involved to some extent, but considered that the Freudian “psychogénèse”, the “causalité psychique” had a crucial importance in the shaping of elementary phenomena, because elementary phenomena appeared as extreme forms of meaning. He subsequently described it as an imaginary phenomenon of defence (mirror stage), but later (in his “return to Freud”) portrayed it as directly related to the intimate structure of subjectivity. Another essential aspect is the relationship between transference and elementary phenomena. I have shown that in his seminal description of the “primary symptom” of paranoia, August Neisser claimed that these patients constantly insisted that their interlocutor "would know" why they were besieged by feelings of relation – Neisser was Serieux & Capgras’ main inspiration to describe the délire d’interprétation, a crucial reference in Lacan’s theory of paranoia. In other words, elementary phenomena implied a "subject supposed to know." A third point concerns the analogy between elementary phenomena and the structure of neurotic fundamental fantasy. There is at least one common point, the designation of the subject, obvious in the case of paranoia. Paranoiacs are beset by the feeling that they are being designated, looked at, spied on. Now what Freud has shown about neurotic fantasy in “A child is being beaten", is that in his most repressed fantasy, the neurotic represents himself as an object. This implied that there is a clear continuum from paranoia to neurosis. Schizophrenia might seem to be excluded from this, but in fact, most of them can be shown to be oscillating between moments when they are “bodyless”, “nameless”, and disorganized, etc, and moments when they manage to build up some paranoiac traits, for instance some delusional vocation. This is crucial for what follows. In fact, one can find in Lacan two streams that present a certain antagonism: 1) On one side, there is the idea that elementary phenomena are embedded in or even constituent of personality, ie, as I have written, that elementary phenomena are analogous to the neurotic fundamental fantasy; that is, neurosis should be considered as an -- extreme -- variety of psychosis. This notion is frankly expressed in the 1970ies with the RSI model, but it was also there previously, as we shall see. 2) On the other side, the idea, initially influenced by Edouard Pichon, that the difference between neurosis and psychosis rests on the fact that a certain loss has been accepted in neurosis, which has been denied in psychosis; this supposes a sort of a qualitative difference between neurosis and psychosis. One of the main reasons why the notion of "ordinary psychosis" was promoted is because some clinicians have tended to believe that the second aspect, ie, maximizing the differences between neuroses and psychoses, was the most important part of Lacan's teaching on the subject. I will contend that the notion of “ordinary psychosis” is important because it corrects several imprudent assumption: that Lacan’s concept of psychosis implied that psychosis had practically nothing in common with neurosis; or that elementary phenomena appeared exclusively a short time before the triggering of manifest psychotic disorders, and should be considered as belonging to an outdated part of Lacan's teaching. In fact, it is this viewpoint that should be seen as outdated, as it mainly rests on the notion that Lacan's concept of psychosis was processual, that is, followed a regular course. Here, I must quote a previous text, in which I tried to delineate what was at stakes with elementary phenomena : "Lacan has given to the expression ‘elementary phenomenon’ at least four sorts of meanings: 1. The possibility to isolate discrete pathognomonic symptoms. 2. The possibility to sort out in non-triggered psychotic cases minimal symptoms which can sum up most of the following delusional developments, in a way quite similar to the ‘fundamental fantasy’ in the neurotic cases. 3. The possibility to find hints of the modes of stabilisation’s that can be foreseen in a given patient. 4. Most of the elementary phenomena imply some sort of a ‘subject supposed to know’, which characterise the structure of the Other." Now it is quite clear that elementary phenomena are excellent candidates to account for discreet “ordinary psychoses”. Advantages and limits of the notion of "ordinary psychosis In non-Lacanian environments, cases that would currently be termed "ordinary pschosis" are usually diagnosed “borderline”. But of course, the problem is that “borderline” designates at least five different clinical issues (Sauvagnat 2004): - non-discernible psychoses - sexual orientation issues - “attachment problems” - acting out problems - character defense problems (what North Americans call “personality disorders”) To put it roughly, ordinary psychoses could roughly correspond to the first, ie the “psychotic borderline”; but the problem is that when one says “borderline”, one tends to think of the fifth, the Kernbergian “borderline personality syndrome”, which is an attempt to group these five distinct issues under the heading of personality disorders. In spite of that, one can consider that ordinary psychoses do correspond to pseudoneurotic schizophrenia cases, ambulatory schizophrenia, monomanias (XIXth century), abortive paranoias, psychotic as if personalities, and also of course the (true) bipolar before they are diagnosed as such. But it also invites us to think of the many other cases that have not been coined yet… because they are so ordinary. One thing is certain: "ordinary psychoses" cannot be considered as a specific or new entity; the phrase designates above all a clinical issue: the difference between what we know about psychoses and the quasi infinite variety of mental mechanisms a psychotic person can exert. Although one of the most frequently cited clinical examples given at the Conversation d'Arcachon concerned a schizophrenic subject whose functioning remained a mystery to his analyst (the patient felt "misty", in his own terms and finally displayed a full-blown negative therapeutic reaction), it is clear that one of the most inspiring cases was probably the one presented by JP Deffieux. This patient, who would in other times have been depicted as having an "as if" personality, was able to exert the most disparate callings, ranging from monk to prostitute, without ever seeming to be anchored to a minimally stable fundamental fantasy. But it is clear what is required here is to take seriously the last model Lacan has left us, the model of knotting, which implies that we should take as a starting point the type of difficult relationship schizophrenics have with their body - to them, "having", "possessing" a body is not an obvious phenomenon - but also the construction of the symptom. Many cases presented as exhibiting "ordinary psychosis" do not complain about a precise symptom, and obviously find it difficult to suppose a knowledge of the analyst concerning their difficulties; this makes them all the more ordinary, as ordinary citizens do not (or at least pretend not to) take their symptoms seriously. In this respect, they can be opposed to artists, of whom Aristotle claimed that their genius is always accompanied by "melancholia". If there is something the catch-phrase "ordinary psychosis" should invite us to do, it is certainly to study how these patients can, in effect, become more artistic. ------------------------------- References:

Collectif(1997): La conversation d'Arcachon. Les cas rares de la clinique. Le Paon, diffusion Seuil, Paris. Collectif (2000):La psychose ordinaire. La convention d'Antibes.Le Paon, diffusion Seuil, Paris. Cochet A: Le drame subjectif du savant: le cas des mathématiciens porteurs d'une structure psychotique, PhD Dissertation, University of Rennes. Sauvagnat F (1988b)La voix,   éditions de la Lysimaque, 1988  (219 p.) Sauvagnat F (1988c)Le clinicien saisi par le passage à l'acte,  revue Actualités psychiatriques, 18e année (Janvier 1988), n°1, p. 36 à  45. Sauvagnat F (1990)Des mélodies obsédantes aux hallucinations verbales, in Sublimation et suppléances, ed. du GRAPP, 1990, p.161-172. Sauvagnat F (1991a)"De quoi les phénomènes élémentaires psychotiques sont-ils l'indice?" in Psychose naissante, psychose unique, sous la direction de H. Grivois, ed. Masson Paris. Sauvagnat F (1991b)"Phénomènes élémentaires psychotiques et manoeuvres thérapeutiques", (en collaboration), in Revue française de psychiatrie, décembre 1991. Sauvagnat F (1991c)"Crise d'adolescence ou entrée dans la psychose? La critique du cas Renée de M. Séchehaye par H.C. Rümke et K. Conrad dans les années cinquante", (en collaboration), Informations psychiatrique, Déc 1991. Sauvagnat F (1992a)"La liberté du psychotique. Automatisme et libération",  actes du colloque Autonomie et   automatisme  dans les psychoses , sous la direction de   H. Grivois, Masson, Paris. Sauvagnat F (1992b)Bedeutungseffekte in den Psychosen, in Hofmann, W. & Schmitt, W. Hrsgb. : Phänomen, Struktur, Psychose, S. Roderer Verlag, Regensburg . Sauvagnat F (1994a)Los psicoanalistas y la cuestion de la comprensibilidad de los trastornos psicoticos, Revista de la Asociacion Espanola de Neuropsiquiatria, Vol. XIV, n°51,  p. 653-676 Sauvagnat F (1994b)"Du regard à l'invocation. Un cas de dysmorphophobie délirante". Quarto, Revue de l'Ecole de la Cause freudienne en Belgique, n° 54. Sauvagnat F (1995a)"Le déjà vu comme surgissement du savoir supposé", in Cahier de l'ACF-VLB, n° 4, printemps 1995, p. 24-34. Sauvagnat F (1995b) "Une passion psychotique du vrai: ironie et déréliction chez Attila Jozsef, La Cause Freudienne, Revue de psychanalyse, n°31, octobre 1995, p. 141-152. Sauvagnat F (1997a) «Phénomènes élémentaires psychotiques et travail institutionnel«, in Cahier de l'ACF-VLB, n°8, été 1997, p. 101-117. Sauvagnat F (1997b)"Conrad Ferdinand Meyer ou le dévoilement mélancolique", post-face à Conrad-Ferdinand Meyer: Les souffrances d'un enfant, Editions Anthropos, 1997, p. 55-110. Sauvagnat F (1997c) La "désensorialisation" des hallucinations acoustico-verbales: quelques résultats actuels d'un débat centenaire, in Polyphonie pour Ivan Fonagy,  ouvrage collectif, L'Harmattan, Paris, p.165-182 Sauvagnat F (1997d) La question de la temporalité dans les psychoses maniaco-dépressives, in L'inconscient ignore-t-il le temps, ouvrage collectif, Presses Universitaires de Rennes,  p. 173-190. Sauvagnat F (1997e)Cuestiones actuales en las psicoterapias de las psicosis, in La Salud mental en los noventa. Clinica, pràcticas, organizacion. IV Jornadas de la Asociacion Castellano-Leonesa de Salud Mental, ed. por La Asociacion Castellano-Leonesa de Salud Mental, p. 13-43. Sauvagnat F (1999a)"Phénomènes corporels chez des patients masculins" in Institut du Champ Freudien: La psychose ordinaire, p.p. 103-122 (en collaboration). Sauvagnat F (1999b)La question de la réaction thérapeutique négative, in Psychologie clinique, n°6, p. 125-150. Sauvagnat F (1999c)"La forclusion du nom-du-père est-elle inséparable du "pousse à la femme""? in Destins sexués du sujet, Section Clinique de Rennes, ouvrage collectif, p. 105-130. Sauvagnat F (1999d)"A propos des conceptions déficitaristes des troubles schizophréniques",  in  Sciences et fictions, Presses Universitaires de Rennes, p. 167-188. Sauvagnat F (1999e)"Secrétaire de l'aliéné aujourd'hui" in Ornicar?-Digital n°77, 78, 79, 80, 81. Sauvagnat F (1999f)"L'écholalie: un symptôme cardinal des psychoses infantiles", in L'Envers de Paris, Revue de l'Association Psychanalytique L'Envers de Paris, n° 21, octobre, p. 10-13. Sauvagnat F (1999g)"Phénomènes élémentaires et fonction de l'écrit", in Quarto, Revue Freudienne de Belgique n°68, Octobre 1999, p. 39-44. Sauvagnat F (2000a)"On thespecificity of psychotic elementary phenomena", Psychoanalytic Notebooks of the European School of Psychoanalysis, August 2000, p. 95-110. Sauvagnat F (2000b)"L'autisme à la lettre: quels types de changements sont proposés aux sujets autistes aujourd'hui?», in  Psychoanalytische Perspectieven, Gand, 2000, n°39, p. 113-149. Sauvagnat F (2001)"La question  de la division subjective psychotique chez V Kh Kandinsky et GG de Clérambault" (en collaboration avec A. Chojnowska), in Sauvagnat .F (Dir) Divisions subjectives et personnalités multiples, Presses Universitaires de Rennes, 2001, p. 173-192. Sauvagnat F (2002)"Position actuelle de la question des hallucinations chez les enfants psychotiques", in Les enjeux de la voix en psychanalyse, dans et hors la cure,ouvrage collectif, Presses Universitaires de Grenoble,  p. 59-84.   Sauvagnat F (2003a)"Fatherhood and naming in J Lacan’s works«, in The symptom, Online Journal for Lacan.com. http://lacan.com/fathernamef.htm, 2003. Sauvagnat F (2003b) «Drives, demand and desire: on the clinique of anorexia nervosa«, Anamorphosis, Journal of the San Francisco Society for Lacanian Studies, n°5,  p. 3-22. Sauvagnat F (2003c)"La systématisation paranoiaque en question«, in Pensée psychotique et création de systèmes. La machine mise à nu» sous la direction de F.Hulak, ed. Erès, p 141-175. Sauvagnat F (2003d) «On the Lacanian Treatment of Psychotics: Historical Background and Future Prospects«, Psychoanalytic Review (New York), 90 (3), October 2003: 303-328. Sauvagnat F (2003e)"Réflexions sur le statut de la mythomanie délirante», L’Evolution Psychiatrique, 68  p. 73-96. Sauvagnat F (2004a)Competing models in the psychoanalytic treatment of the Borderline syndrome: a few historical landmarks, in Ormosko Srecanje 4: Nedokoncna zgodba 2: shizoidna in borderline osebnostna motnja, Ormoz-Ptuj, Slovenija, junij 2004, p 92-108. Sauvagnat F (2004b) «Diabolus in psychopathologia, ou crime, perversité et folie, in Recherches en psychanalyse, n°2,Décembre 2004, p 73-95. Sauvagnat F (2004c)La psychopathologie saisie par les mythes, in Zafiropoulos M et Boccara M: Le mythe: pratique, récit, théorie. Volume IV. Anthropologie et psychanalyse. Paris, Anthropos , p 113-156. Sauvagnat F (2004d) (in collaboration with Alvarez, J.M»  & Esteban, R). Fundamentos de psicopatologia psicoanalitica, Madrid,  ed. Sintesis,  (790 pages). Sauvagnat F (2005a) Body structure in autistic and psychotic children, in Helena de Preester & Veroniek Knockaert (eds)Body image and body schema, John Benjamin Publishing Co, Advances in Consciousness research 62, p 153-172. Sauvagnat F (2005b) Psychotic Anxiety and its Correlates in Bodily Experiences: Some Remarks on ‘New Symptoms’, psychoanalytical notebooks, N°14. Sauvagnat F (2005c) Hallucinations psychotiques et énonciation, in   La voix, dans et hors la cure, N°thématique, revue Psychologie clinique,  n°19, p93-125. Sauvagnat F (2006)-elementary phenomena, in Skeldon, R(ed.): The Edinburgh International Encyclopaedia of Psychoanalysis, Edinburgh University Press, p140. Sauvagnat F (2006)-The issue of suitability in Lacanian Psychoanalysis, in Greenspan S, McWilliams N, Wallerstein R (eds) Psychodynamic Diagnostic Manual, Alliance of Psychodynamic Organisations, Silver Spring, Maryland  p 417-422. Sauvagnat F (2007) Remarques sur les rapports entre J Lacan et  N Chomsky[Remarks on the relationship betweenJ Lacan & N Chomsky], in Revue Internationale Langage et Inconscient, N°3, Janvier 2007, p. 102-120.

[isbeeshy]

My favorite secundary character

Soo.... This is a hard choice. Wander over yonder has lots of incredible characters so It took me a while to decide witch one of them I like the most. But them It hit me. IM JUST A LITTLE BLACK CUUUBE OF DARKNESS The cube of darkness os AMAZING. How did they managed to spress so much emotion on a floating geometric form?? Is such an incredible concept! When he first apeared I was thinking "woow I wanna se more about this character" and wish granted: he got hes own episode, in witch is impossible not to simpatize with the poor little guy. I really wanted to know what path would he take after that but... So yeah, the cube of darkness is my favorite secundary character of Wander over yonder and i hope my post help the savewoy moviment, because this is a show that DEFNITLY deservs a third season.