#mrs who

[its-to-the-death]

Glasses Swag Tournament Preliminary Round #8

Only one of these characters will make it into the bracket so vote for your favorite!

[iviarellereads]

A Wrinkle In Time, Chapter 12 - The Foolish and the Weak

(THIS PROJECT IS SPOILER FREE! No spoilers past the chapter you click on. Curious what I'm doing here? Read this post! For the link index for the Time Quintet, read this one! Like what you see? Send me a Ko-Fi.)

In which sometimes you can go home again.

The three Mrs aren't quite as they were when Meg last saw them, and shortly it comes about that they aren't fully materialized, but they're here because they were called. Meg says her father left Charles on Camazotz, and Mrs Whatsit asks coldly what they're supposed to do about it. Meg pleads with her to save her brother, but Mrs Whatsit says they can't do anything on Camazotz. Meg asks if they mean for Charles to be trapped there forever, and Mrs Whatsit asks if she said that, but it's not their way to act themselves.(1)

Mr. Murry interrupts to bow to the Mrs, and Mrs Whatsit requests an introduction. Meg impatiently does the bare minimum of formalities. Mr. Murry says he'd like to learn enough about tessering to go back to Camazotz. Mrs Which says, even knowing he can't succeed? He says he has nothing left if he doesn't try. When Mrs Whatsit says he can't go, Calvin offers, but she forbids him, as well.

There was a long silence. All the soft rays filtering into the great hall seemed to concentrate on Mrs Whatsit, Mrs Who, and the faint light that must be Mrs Which. No one spoke. One of the beasts moved a tendril slowly back and forth across the stone tabletop. At last Meg could stand it no longer and she cried out despairingly, “Then what are you going to do? Are you just going to throw Charles away?” Mrs Which’s voice rolled formidably across the hall. “Ssilencce, cchilldd!”

Silence, however, is not one of Meg's virtues. She cries that she can't go. Mrs Which asks if anyone asked Meg to go, and she starts crying-crying, having a full tantrum on Aunt Beast, who tolerates it. Sobbing, Meg says she'll go, but Mrs Whatsit says they don't want her to go unwillingly, or without understanding.

Suddenly, Meg's tears stop, and she says she does understand. She feels tired, and peaceful, but no longer cold. She even looks at her father and feels no anger, only love and pride.(2) Mrs Which asks what she understands, and Meg says, she knows it has to be her, because she's the closest to Charles.

Mr. Murry, however, will not allow Meg to go into this danger alone, especially not after being so injured by the darkness. Calvin says he needs to go, because he's only on this adventure to take care of Meg and Charles. Aunt Beast offers to go as well, but Mrs Whatsit cuts her off before she finishes saying it. More argument, more accusations of the Mrs being in league with IT. Mrs Whatsit explains that life is a little like a sonnet: there are rules, and defined limits, but there's also so much freedom within those restrictions. They don't know the absolute future, but they can act within the rules.

Meg says she'd like to go and get it over with, and Mrs Which agrees that it's time. Meg thanks the beasts, and AB in particular. She starts to say Calvin's name, but he rushes in and kisses her before she can even finish, but turns away before he can see how happy it made her.(3) To her father, Meg apologizes, because she wanted him to do everything and make it so her way was easy. He says that's what he wanted to do, what any parent wants for their children.(4) He tries again to go in her stead, but is again shut down.(5) Instead, he tells her not to be afraid of being afraid. She starts to give him a message for her mother, but stops and says she'll say it herself after.

This time, the Mrs' gifts are not things Meg can touch with her hands at all. Mrs Whatsit gives her love, Mrs Who gives 1 Corinthians 1:25-28(6) in hopes that Meg will understand it when the time comes, as she understood the tesseract. Mrs Which pulls Meg through the tesseract, and as she stands on a hill on Camazotz, she gives Meg her gift: the knowledge that Meg has something IT doesn't, but she'll have to find it for herself.

Meg walks through Camazotz again, alone, toward the domed building, wondering what she has that IT doesn't. She remembers what her father said, about how IT isn't used to being resisted. She keeps in mind that she's going to save her brother. Soon, she's in front of the domed building, and then suddenly within.

Charles is there. When Meg thinks about what she might have that IT doesn't, he tells her the answer is nothing. He says it's nice to have her back, that Mrs Whatsit is a friend of IT, and tries to take her over again. She says he's lying, about there being nothing and about Mrs Whatsit. He says Mrs Whatsit hates Meg, but that's where IT fails. Meg remembers that Mrs Whatsit loves her, unconditionally, and love is what Meg has that IT hasn't.

Meg stands there, and she thinks her love at Charles, so hard that it calls him back to her. He runs into her arms, and immediately, she feels herself swept away, tessered back out. She, and Charles, and Calvin and Mr. Murry are all back home, in the vegetable garden. Dennys and Sandy come out to call Meg and Charles in for bedtime, and Mr. Murry is off like a rocket across the lawn to hug them too. Soon, everyone is in a hug pile, even Calvin.

Meg knew all at once that Mrs Whatsit, Mrs Who, and Mrs Which must be near, because all through her she felt a flooding of joy and of love that was even greater and deeper than the joy and love which were already there. She stopped laughing and listened, and Charles listened, too. “Hush.” Then there was a whirring, and Mrs Whatsit, Mrs Who, and Mrs Which were standing in front of them, and the joy and love were so tangible that Meg felt that if she only knew where to reach she could touch it with her bare hands. Mrs Whatsit said breathlessly, “Oh, my darlings, I’m sorry we don’t have time to say goodbye to you properly. You see, we have to—” But they never learned what it was that Mrs Whatsit, Mrs Who, and Mrs Which had to do, for there was a gust of wind, and they were gone.(7)

=====

(1) Some people have the ability to go out and risk themselves and march in protests and join sit-ins, but not everyone has the endurance or the resources. Some of us sit in the back, cooking and mending and caring for those who need to fall back before going back out there. We need all sorts working together to accomplish the greatest of goals. (2) I don't know how this would've been better done but I know it feels far too quick and convenient. (3) Less than ideal circumstances but I'll refrain from complaint about potential teen age gaps and consent. (4) Pretty sure Calvin's mom proves otherwise but sure, it's what parents SHOULD want to do for their children. (5) We're spending this much time on the same argument and none on how Meg came around to the right side so fast? Sure Jan dot gif. (6) The verse is about how God's foolishness and weakness are still superior to the best of humanity, but God made the foolish and the weak to shame the wise and the strong, and God chose the "despised things of the world" to humble those who would make themselves out to be great. She carefully leaves off the verses that finish the section: that this choice was made so that no one would be able to boast in God's presence, and it's those choices that make everyone children of God. I go back and forth on whether it's with the intention of making the verse feel less Christian-God-ish, or if L'Engle intended the rest by inference. (7) This whole final chapter has no room to breathe at all, but this is the perfect moment to leave it off, I think.

[theotherendcomics]

[myiliterallyhavenolifegoals]

Learn your history!!!!

[chloesimaginationthings]

How William Afton got his wife in FNAF

[deadpoolsmom]

as far as one piece antagonists go Crocodile truly gets absolutely scooby-doo’d at unmatched levels

He immediately falls for a phone scam and from basically little garden to rainbase he doesn’t even know the strawhats are alive (and clowning towards him at incredible speed). As soon as he does, they’re in his house tearing at his walls and bringing marines into his villain lair.

He uses a literal floor trap door over a gator pit to catch them, gets phone scammed again, full scooby-doo chase scenes after Chopper through the streets while still missing him, and suddenly his prisoners have escaped his impossible cage, and his giant bananagators are dead. and Nico Robin saw it all happen.

He then spends rest of the arc complaining about those meddling kids and their dog “strawhat pirates and their weird pet” and at no point does he even know how many strawhats there are.

Like yeah he keeps having plans on top of plans to stop everything Vivi can do but also she keeps coming up with a new thing to do (Tom and Jerry ass dynamic).

Part of it is that he’s underestimating them and keeps grandstanding villain monologuing but also teens keep killing hundreds of his grand line bounty hunters and he straight up does not know what is happening.

Cause he IS trying to kill them he’s sending top assassins after them and ripping out luffy’s organs, the whole time he’s yelling HOW ARE YOU ALIVE?? DIE. as whack-a-mole Luffy keeps inventing new ways to hit him.

[thesilvergryphon-blog]

The Foolish and the Weak

The foolishness of God is wiser than men; the weakness of God is stronger than men. Continue reading Untitled

[aerequets]

(part 1)

(short comic) (you can otherwise search 'spy x pta' on my profile)

MY GOODNESS. it's been a hot minute since i posted the first part and i guess i just couldn't SHUT UP because this is FOURTEEN PAGES LONG. FOURTEEN. you can even see some pages where the linework is slightly different because i drew it like 6-ish weeks ago, that's how long this has been cooking. drawing in general has been hard lately because of time constraints, BUT i am so happy i finished this. this is like my fav project even tho it isnt as popular, but who cares!!!!! POPULAR IN MY HEART

[pisscentral]

[alternativeulster]

can anyone hear me

[goryhorroor]

horror sub-genres: children horror

[iviarellereads]

A Wrinkle In Time, Chapter 6 - The Happy Medium

(THIS PROJECT IS SPOILER FREE! No spoilers past the chapter you click on. Curious what I'm doing here? Read this post! For the link index for the Time Quintet, read this one! Like what you see? Send me a Ko-Fi.)

In which those don't sound like very useful tools for this sort of rescue mission.

Everyone watches the crystal ball as it moves to another place, still in the Milky Way, where a planet is overcoming the Darkness, and overcomes it fully, returning the planet to peace. Mrs Whatsit, however, is sad about it. When Charles asks, Mrs Whatsit says that was a victory, but a star had to give its life in the process. Mrs Which asks if Mrs Whatsit's incident was recent, and Charles observes aloud that she was a star, then, who did just what they just saw for another place.(1) Charles Wallace offers an embrace and a kiss on the cheek, which Mrs Whatsit accepts. Meg would offer, but feels it would be anticlimactic after Charles.

The Happy Medium slowly falls asleep and starts snoring, sitting up and all. Meg starts asking what's next, but Mrs Who quotes that "[w]alls have ears", and Mrs Whatsit agrees, they should go outside. The Medium wakes and asks if they were leaving without saying goodbye, she was going to offer them refreshments. Mrs Whatsit says they should be going, but Meg realizes how hungry she is. Charles Wallace tells her in a whisper that the Mrs don't need to eat the way humans do.(2)

The Medium offers to do something nice, since the children had to see such horrible things. Meg asks to see her father, but Mrs Which is very clear that they're going there soon enough. The Medium offers to show her mother, then, which Mrs Whatsit says should be fine. Meg asks for Calvin to see his mother, too, and she's not sure if his reaction is "thanks or apprehension". Mrs Which thinks it's a mistake, but allows it all.

Meg asks for Calvin's mother first, but when the Medium zooms into her, she's committing child abuse.(3) The Medium apologizes, and Meg reaches out to Calvin to comfort him, thinking how just yesterday she'd have laughed at anyone who said she'd be doing it now for someone like Calvin, but now it feels as natural as it would to comfort her brother.

Next, the Medium shows Mrs. Murry, writing another letter, probably to Mr. Murry. She lets herself sink into her deep unhappiness, in a way she never lets the children see.

And now the desire for tears left Meg. The hot, protective anger she had felt for Calvin when she looked into his home she now felt turned toward her mother.(4)

Mrs Whatsit murmurs about Mrs Which being right again, and the Medium wails that she only meant to help. Meg reassures her that she really did help, because now Meg's mad, and there's no room for being scared anymore. The Medium, asks the children all to kiss her goodbye, for luck, and asks where they're going so she can watch over them. Mrs Whatsit says they're off to Camazotz, and for the Medium not to upset herself watching a dark planet, but the Medium wants to know what happens to the children, of course. As she falls asleep again, they leave quietly.

Outside, Mrs Which says they must not be frightened, and Mrs Whatsit reminds Meg to stay angry.(5) And, they tesser once more, to Camazotz, which I'm probably going to misspell at least once.

Mrs Whatsit says that the Mrs won't be able to stay, or speak to them, or help, but they can provide small gifts. She gives Calvin a greater strength to his ability to communicate with people, and she gives Meg all her faults, which she will find more useful here, much as she resents them. All she can give Charles is "the resilience of [his] childhood." Mrs Who gives Calvin a hint in the form of a quote from Shakespeare's The Tempest,(6) and Charles one in the form of Goethe which is much more straightforward. But, to Meg, she leaves her glasses, to be used only in "the final moment of peril." Mrs Which simply gives them all a command: go into the town, and do not let themselves be separated.

Charles is confident he can protect Meg, but Mrs Whatsit cautions that Charles faces the greatest danger because of his abilities. He should be particularly cautious of "pride and arrogance". Charles says he's afraid, and Mrs Whatsit says only a fool wouldn't be. Meg, her voice trembling with her own fear, says they should get going, so they do.(7)

The three children enter the town, which is uncanny. Every house is just the same, Meg is even sure they have the same number of the same flowers as each other. The children of each house are playing, all bouncing their balls exactly in sync. Every mother opens the door at the same time to call them back inside. All but one boy, whose ball bounces erratically, and is lost to him. Our three are unsettled AF, but Charles wants to investigate, and Calvin refuses to split the party.

Charles gets the ball and rings the doorbell at the boy's house, and they hear the sound echo down the street. Every door opens at the same time, and every mother's head pops out to listen. The mother of the boy in question is confused, it's not time for the paper delivery, milk delivery's already come, and all her papers are in order. Charles says the boy dropped his ball, and offers it back. The mother is horrified, children on this street don't drop their balls, not ever. Not a single capital-letter Aberration in three years!

Leaning past the mother, despite her protests, Charles offers the ball to the boy, who's about his own age. The boy darts forward to grab it, and runs off. The woman pales and slams the door, followed by every other door up and down the street. Charles couldn't get a read on them, and wonders aloud what they're all so afraid of.

They continue forward, and run into a paper boy on his route, riding a strange combination bicycle-motorcycle. He's curious why they don't know the rules, that they're out when only route boys are allowed. Charles notes that he's quoting from something for his listed regulations.

"The Manual, of course," the boy said. "We are the most oriented city on the planet. There has been no trouble of any kind for centuries. All Camazotz knows our record. That is why we are the capital city of Camazotz. That is why CENTRAL Central Intelligence is located here. That is why IT makes ITs home here." There was something about the way he said "IT" that made a shiver run up and down Meg's spine.(8)

Charles asks where Central Intelligence is, and the boy corrects him, CENTRAL Central Intelligence, before saying they can't miss it if they keep on this road. He starts to ask if they're really not from around here, but Charles asks if the boy should be asking questions, which makes him go pale just like the woman did, and send them on their way.

So, on they continue again, discussing somewhat heatedly what to do next. Charles thinks they should go right to CENTRAL Central Intelligence, as that's surely where Mr. Murry is being held. Calvin is more concerned with how the mother and the paper boy were both very clear about having papers in order, perhaps they need passports or something. But Charles insists, if they needed anything, the Mrs would have provided it.(9)

Charles explains that he's sure they're not robots, they have minds, he just can't access them. He tries one last time.

The three of them stood there very quietly. The doors kept opening and shutting, opening and shutting, and the stiff people hurried in and out, in and out, walking jerkily like figures in an old silent movie. Then, abruptly, the stream of movement thinned. There were only a few people and these moved more rapidly, as if the film had been sped up. One white-faced man in a dark suit looked directly at the children, said, "Oh, dear, I shall be late," and flickered into the building. "He's like the white rabbit,"(10) Meg giggled nervously.

Charles is distraught that he can't reach the people, and then that he might not recognize his father. Meg insists, on the latter count, that he'll recognize his father just like he recognizes Meg, without needing to see her, because he can sense her. This is just what Charles needed to hear, and he's ready to move forward.

Before they go, though, Calvin reminds them of how he was in their path because he had a good feeling he had to be there, just then, to meet them. Well, now he has an opposite feeling, that they're walking into great danger.

=====

(1) I know some people get annoyed at this sort of explanation, and want the text to trust the reader to figure some things out. I can go either way: sometimes a story that does subtlety and subtext works for me (see: The Locked Tomb) but other times I want a story that doesn't make me work so hard to understand. (2) Never to be addressed again in this chapter, naturally. (3) The story doesn't seem to support the abuse, but there's also… there's not really an indication that it should be stopped. Perhaps we could say, it's a side effect of the Darkness? It feels icky in a way that only feels half intentional to me. (4) This sort of character resonates down through the ages, but the other one that first comes to my mind is Tiffany Aching of the Discworld, who I unfortunately only met as an adult but nevertheless spoke to some of the same parts of me as Meg once did and still does. (5) Not always the best advice, it requires nuance. Don't fight your anger, but find ways to use it that aren't destructive as much as possible. March at protests, make phone calls or write letters to your representatives in government, research and write sourced posts about issues that matter to you. You can't let it eat you up and you can't let it hurt the people around you. But, it's still kind of revolutionary to see any children's book acknowledging that anger isn't inherently bad. (6) The quote is about Ariel, the spirit servant of Prospero the magician. The Tempest is full of illusions, the island is run by Prospero who manipulates the wills of others, and Ariel was imprisoned in the pine where he remains, and Mr. Murry is imprisoned here on Camazotz which parallels the lot. (7) And Meg, of course, is no fool. (8) And it's not just the old Stephen King book or either of the adaptations it's had, since that was written WAY later than this. Funny how many authors in history have chosen to simply capitalize a non-person pronoun as a villain. I have neither affinity nor distaste for the use of it/its for myself or others, but thinking about it seriously as a person-pronoun takes away some of its horrifying consequence as a villain-name. And, use of it as a villain-name reinforces the distaste most people have for it as a person-pronoun. (9) Which raises questions as to how they knew what would be needed. (10) Alice in Wonderland, a touchstone I assume most people are familiar with but still worth establishing just in case.

[duckysprouts]

if you were at your worst, if you’re a villain or a screwup or whatever, there is a goth man dressed as a giant bat who keeps coming after you, bothering you. he sabotages your journey of self destruction over and over. ur ready to give up but he won’t let you. you think, today he won’t come. today he will give up on me too. he never does.

[doomed2repeat]

I need people to hear me out:

Colin Bridgerton is NOT this type of male lead:

He is this type of male lead:

And I love that.

[tending-the-hearth]

i think my favorite type of relationship trope is "stopped believing in love a long time ago" and "genuinely doesn't think they're worthy of love" falling for each other in the MOST romantic way possible