#or people coming to india for a “self journey”

[blackfilmmakers]

You guys can stand to be a bit more normal about Pavitr honestly

He's not the "pure sweetheart that would never cuss" kid yall make him out to be

[eatmangoesnekkid]

Cassie: Friend, Soulmate, and Self-Regenerating Muse

One of the ongoing themes of my multi-book series is The Muse: the consciousness, archetype, and ways of moving and being of the Muse, who is the Muse and why this energetic matrix is important for every femme to embody for her aliveness and manifestation potential. I made a major edit in this chapter after randomly meeting someone one warm day in Amsterdam recently. The chapter now opens with a story about her.

Cassie is her name and she is stunning. I don’t know what it is about Amsterdam but I rarely—meaning—never —meet people I feel a deep soul kinship with. To be fair, I spend more time biking in Amsterdam instead of walking because the weather is often trashy. But walking is my favorite exercise and I tend to walk a whole lot more in other cities when I’m traveling because, hello, beautiful weather. But on this warm beautiful Sunday in Amsterdam, I joyfully walked everywhere. That’s how I met Cassie, an Indonesian and Surinamese (Black) 38 year old Goddess as she was lightheartedly and confidently sashaying down the street in her short denim dress with peak-a-boo air holes cut out on the sides which illuminated her waist.

She was alone with no cell phone or bag, casually strollin' to her own rhythms while licking a vanilla ice cream cone and delighting in her own innocence and pleasure after walking through the city for hours I would later find out. That is so me—walking for hours in a city and getting lost without a cell phone on me. It was like seeing myself and one of my favorite Minnie Riperton album covers come to life in full-size, "Perfect Angel," the one where she is holding a dripping ice cream cone while smiling so sweetly. Suddenly Cassie made a u-turn and sat on the bench directly across from me. I knew I had to say something to her.

The first thing I said was “you must tell me what you do to have that kind of body.” She responded “you must tell what YOU do to have that kind of body.” She reminded me of me so much—it was dreamy and surreal as watching a Maya Deren “black and white” film yet it was as real as human flesh and a beating heart. You know what her answer was?! “I don’t workout my body. I just workout my mindset and emotional body.” I responded with all manners of celebration “you magical neuroscience quantum theory Gawddddd.” We both laughed! We ended up talking for 4 whole hours— nerding out on everything from quantum physics and metaphysics to speaking about our dreams, love, farm life, and why high-quality, non-extractive penetration (when mutual love and reverence are present regardless of the 'relationship status' between the two) is essential for the healthy shape of a woman’s body and to liberate the deeper coiled wisdom living in her female tissues that no male guru in India could ever possibly understand or teach. It felt like Cassie and I had only been sitting there for only 30 minutes. She was my muse and I was hers. We went on a real journey together.

To open yourself up to The Muse and allow this regenerative consciousness to be your lighthouse in the world requires devotion and a kind of playful endurance and resiliency where you begin to hold a quality of self-worth that does not allow you to give up before the miracles start to happen in your life. Being able to follow a dream -your heart's desires and big visions, capable of trusting the process of what is being divinely asked of you to do and not give up, truly embodying the mindset of a divine being, yield a greater energy of pure power. And what I know about energy is that everything is sourced from it, even though it appears physical to our eyes.

Of course, if you desire to work through the physical/3D world/matter, those things you can logically track and measure, you can. But the truth is that you access more infinite power to shift your body and whole life when you begin to tune into E-N-E-R-G-Y, the subtle, immaterial, and invisible, the spirit that lies beneath the surface, like blessing your food and directing it to travel to the parts of your body you’d like for it to energize or nourish, to make more shapely or healthy. Also, getting into energy work and metaphysics, the essences of your chi, makes you prettier like a beauty ritual, more naturally attractive, magnetic, and wiser. I can’t wait to finalize this chapter and share a snippet here. Yum!—India Ame’ye

[tired-lamb]

I will never not love Spiderman: ATSV for making Pavitr so insistent on respecting Indian (and Asian in general) culture. Apart from the entire chai tea bit, his whole dialogue with Spot means so much to me.

“I’m on a journey of self-improvement!” “And you came to India.. that’s a western culture cliché. Don’t ‘eat, pray, love’ me, bro.” “No, no, no, no, no! I did not mean it like that.” “Let me guess, you wanna ask me about saffron, cardamom, and naan bread— which is the same as saying ‘bread bread’ which is the same as saying ‘chai tea’.” “Oh I love chai tea!” “No!”

This dialogue, means so much to me. Asian stereotypes and racism towards asians has been so dang normalised to the point that people will just dismiss it. I’ve called people out on racism towards asians before and have been met with people excusing themselves by saying they didn’t mean it ‘like that’, it was a tiny mistake, etc etc etc. It has come to the point where people will tell me to just ignore it. Some people will even get mad at me for being so bothered! And I’ve felt self-concious over standing up for my own culture.

Pavitr Prabhakar? He doesn’t feel that. The Spiderman: ATSV team made sure to include that dialogue, where Pavitr assumes Spot is being racist, because it’s happened so many times. He has every right to get mad about it. And it’s so, so refreshing to see how openly he does it and how welcome he is to do it. People will get mad at us for assuming but can you blame us?? Others living in and from third world countries know what I mean.

In this movie, Pavitr is so openly Indian and he openly calls people out on their racist stereotypes and it’s wonderful. The reason? That it’s been included, at all. That never does he get reprimanded for standing up for his culture. No one ever tells him “dude, chill. It was just a tiny mistake.” These tiny mistakes are the reason those stereotypes exist in the first place, cause people never give us a chance to even stand up for it.

It might seem like common sense for us to stand up for our culture, but trust me when I say a lot, a lot of people dismiss us for doing so, and will even say we’re being overdramatic. Buuut I’d rather not gonna go into that.

TLDR; Pavitr Prabhakar is great rep. Writers, take notes. Thank you, ATSV.

[melliae]

Regarding the last Arcana in Persona 3

For those that are curious, this post serves as a clarification on the somewhat misunderstood final battle and all that happened in there… as well as a revision of the atrociously written imgur I created some years ago. It also contains some minor spoilers from other gamers, but hopefully nothing major.

Now, with that said, let’s begin with the first mention of the Universe in P3: Edogawa’s explanation of the major arcanas.

“この“愚者”から始まり“宇宙”で終わる22枚の大アルカナは... 番号順に一つの連続した物語になっていて、 それ自身が人間の成長過程を表しています。人間の苦難や、変節、成功... 文字通り、 人生の線図があります。カードがそれぞれ、人が人になるため、必要な要素をあらわしてんですねえ。大事ですから、22枚のカードを一つ一つ見てみましょうか。 [...] そして最後の“宇宙”。やがてたどりつく、あなた自身の場所です。” “Beginning with the 'Fool' and ending with the “Universe”, the 22 major arcanas are one continuous story in numerical order, which itself represents the process of human development. The hardships, betrayals and successes of humans… Literally, they are a diagram of life. Each card represents the necessary elements for a person to become an individual. Since they’re that important, let's look at each of the 22 cards, shall we? [...] At last, it’s the Universe. It’s your own place that you’ll eventually reach.”

As you can see, the explanation in japanese is somewhat different from the one we got in english version of both FES and Portable:

“Beginning with "The Fool" and ending with "The World"... they tell a story in numerical order that is a metaphor of an individual's journey through life. Each Major Arcana represents a stage on that journey... an experience that the individual must incorporate to realize his oneness. They are all important, so let's take a look at each of the 22 cards, one by one. [...] The final card is The World, which represents the individual's full awareness of his place in the world.”

Though, despite being worded differently, both explanations refer to the same fundamental process: the journey of individuation. This is a concept belonging to the branch of psychology founded by Carl Jung, analytical psychology, from which almost all ideas of the series come from (ie. Shadow, Persona, Demons, etc. I recommend watching Edogawa’s extras on P4G), and this one in particular is defined as the “development of consciousness out of the original state of identity”, integrating the contents of the personal and collective unconscious with the goal of achieve psychological healing and unity, thus achieving or at least getting close to the archetype known as the Self, which is nothing but the totality of the psychic contents and processes of an individual – everything.

It’s no brainer to compare such process with the Fool’s journey used in the modern trilogy, with several of Jung’s students and scholars establishing the relation:

“Like paintings, these Trumps are so-called projections holders, meaning simply that they are hooks to catch the imagination. Speaking psychologically, projection is an unconscious, autonomous process whereby we first see in the persons, objects, and happenings in our environments those tendencies, characteristics, potentials and shortcomings that really belong to us. We people the exterior world with the witches and princesses, devils and heroes of the drama buried in our own depths.” - Jung and Tarot: An Archetypal Journey, Sallie Nichols.

Such is one example, and there are many more if you look at the section of literature regarding Jung’s theory and tarot, which fits wonderfully with the japanese explanation. However, the english one isn’t wrong by any means, since such a description still fits with how Jung explained the process of individuation:

“The unio mentalis, then, in psychological as well as in alchemical language, means knowledge of oneself. In contradistinction to the modern prejudice that self-knowledge is nothing but a knowledge of the ego, the alchemists regarded the self as a substance incommensurable with the ego, hidden in the body, and identical with the image of God. This view fully accords with the Indian idea of purusha-atman. The psychic preparation of the magisterium as described by Dorn is therefore an attempt, uninfluenced by the East, to bring about a union of opposites in accordance with the great Eastern philosophies, and to establish for this purpose a principle freed from the opposites and similar to the atman or tao. Dorn called this the substantia coelestis, which today we would describe as a transcendental principle. This “unum” is nirdvandva (free from the opposites), like the atman (self).” - Mysterium Coniunctionis

The process of individuation, due to its integration of the collective unconscious or the collective memory of all life, it’s equal to the mythological process of cosmic union or henosis: becoming one with the cosmos’ underlying nature. This means the Universe, as the end point of the Fool’s journey, is the embodiment of the universe as a whole which is referenced in-game

“Hmm... I see nothing in you... It seems you no longer need your fortune told... All potentials are within you... You can go anywhere, become anything... The universe is within you... And you are within the universe... You and the universe are one and the same... That is my belief…” - Fortune Teller, P3

It’s important to note the same Fortune Teller, in a previous prediction, also references the World as an equivalent to the Universe, meaning the english translation isn’t entirely wrong (and that all I’ve written applies to the World too). Furthermore, we have this explanation on Edogawa’s part:

“Now, one of the most important ideas of Kabbalah is the Tree of Life, formed of the ten Sefirot. Most illustrations depict it as a chart shaped like a tree. The 10 stages represented by the Sefirot… and the 22 paths connecting them represent the stages of Creation God formed from his own self, as well as the direction in which humanity should evolve. Where did we come from? Where are we going? These answers lie in the Sefirot. [...] By the way, did you all notice that I said there were 22 paths? Yes, that's right. The same number as the Major Arcana I spoke about earlier.”

The tree of life is one of the most common symbols of western (and jewish) mysticism, commonly syncretized with the 22 major arcanas to create a sort of system that allows people to rejoin the ineffable godhead – called Ein Sof (funnily enough) – at the root of everything. That’s to say, it’s another symbol of individuation, with even Jung interpreting the tree itself, with no connection to tarot, as such:

“The figure of Tifereth belongs to the Sefiroth system, which is conceived to be a tree. Tifereth occupies the middle position. Adam Kadmon is either the whole tree or is thought of as the mediator between the supreme authority, En Soph, and the Sefiroth. The black Shulamite in our text corresponds to Malchuth as a widow, who awaits union with Tifereth and hence the restoration of the original wholeness. [...] In the Cabalistic view Adam Kadmon is not merely the universal soul or, psychologically, the “self,” but is himself the process of transformation, its division into three or four parts (trimeria or tetrameria).” - Mysterium Coniunctionis.

This means that, in jungian terms, the tree of life (which is equal to the archetypal man in jewish esoteric thought) is both a symbol of the process and of the result at the same time, strengthening the cosmic and personal nature of the major arcanas within the series, being symbols of the individual soul’s journey and of aspects of the world at large. Naturally, the Universe, as the culmination and integration of all arcanas, is nothing but the very own archetypal tree and man embodied, the potentiality of life as Aleister Crowley described it, the founder of Thelema and creator of the Thoth Tarot from where the Universe comes:

“In the card itself there is consequently a glyph of the completion of the Great Work in its highest sense, exactly as the Atu of the Fool symbolizes its beginning. The Fool is the negative issuing into manifestation; the Universe is that manifestation, its purpose accomplished, ready to return. The twenty cards that lie between these two exhibit the Great Work and its agents in various stages. The image of the Universe in this sense is accordingly that of a maiden, the final letter of Tetragrammaton.” - Book of Thoth.

As the final arcana, the Universe is also the end of existence and its meaning. It’s the full realization of the primordial Nothingness that the Ein Sof is, not through being anything in particular but through being everything that has existed and exists, thus truly being nothing. Naturally, this aspect of the Universe is also referenced in P3, though in the movies this time:

“You have acquired the answer, I presume? [...] Right now, you just might arrive at the Answer to Life. [...] Are you aware? An arcana is an entity that reveals one’s entire life. Those who have taken possession of them, and said to have truly lived, are able to arrive at the Answer.” - Elizabeth

It’s very obvious the answer that Makoto and Kotone arrived at is the meaning of life and existence itself, of the unconscious godhead that created the world (ie. the arcanas and humanity) from its essence. Such an understanding can only be born from the full integration of the archetypes that compose the universe (ie. the human experience), which means becoming one with it – the individual soul merging with the anima mundi.

“As a result of the complete detachment of all affective ties to the object, there is necessarily formed in the inner self an equivalent of objective reality, or a complete identity of inside and outside, which is technically described as tat tvam asi (that art thou). The fusion of the self with its relations to the object produces the identity of the self (atman) with the essence of the world (i.e., with the relations of subject to object).” - Psychological Types.

This is also mentioned by Igor during the Universe’s scene, though it was mistranslated as “space” when the original was “宇宙”, which was used by Edogawa to refer to the thelemite Universe. In that scene, Igor also described the card as “全ての始まりの力であり、そして、全てを終える力でもあります”, or “the power of the beginning of all, and the power the will end it all”, referencing the nature of the Universe as the embodiment of the ineffable creator and its final realization – the union of opposites that characterizes the Self.

“The archetype of the self has, functionally, the significance of a ruler of the inner world, i.e., of the collective unconscious. The self, as a symbol of wholeness, is a coincidentia oppositorum, and therefore contains light and darkness simultaneously.” - Symbols of Transformation.

“When it represents a complexio oppositorum, a union of opposites, it can also appear as a united duality, [...] Empirically, therefore, the self appears as a play of light and shadow, although conceived as a totality and unity in which the opposites are united” - Psychological Types

“Hmm... I feel a strange aura around you... In my mind, I see visions... People's past, present, and future... For most people, I see clearly, and far ahead... But you are different... Your future is filled with both blinding light and stagnant shadow... I can see but a small portion... What lies beyond that is shrouded in mystery.” - Fortune Teller, P3

By nature then, the power of the Universe may not necessarily refer to only the physical one, but to its psychological analoge as well: the collective unconscious. This is supported by Elizabeth’s route in Arena, where the japanese version refers to the collective unconscious as “内なる宇宙” or “inner universe”, a term both used in the P3 Club Book, in the protagonist’s profile, and in the very own description of the Great Seal: “内なる宇宙を開放し、死の母星ニュクスを封印する力” (“Release the inner universe, the power to seal the mother planet of Death, Nyx”).

However, calling the collective unconscious an “(inner) universe” isn’t exclusive to P3, because P2 does it as well. Firstly, the party in IS collectively confuses the Sea with “宇宙” in the japanese version (I wouldn’t say it’s mistranslated in english however, just that the nuance is lost), and then Virochana comes in Tatsuya’s Scenario describing it as the following:

“Thy reflection on the water’s surface: that is thy Brahman, the truth of the universe, which is in turn thine Atman. Thou thyself art the universe, and thine self is itself the light that illuminates the soul.”

Due to his nature as an archetype, Virochana is speaking purely symbolically here, referencing only a psychological reality and not a physical one, and since Jung understood the Atman and Brahman as symbols of the Self, further explanation is not needed. And by that matter, the following section, the one with the archetype of Buddha, doesn’t contradict that conclusion, since Jung also acknowledges buddhahood as another symbol of the Self.

“Hence in its scientific usage the term “self” refers neither to Christ nor to the Buddha but to the totality of the figures that are its equivalent, and each of these figures is a symbol of the self.” - Psychology and Alchemy.

And I don’t think I’ve to delve into Philemon’s whole schtick about humanity understanding its “purpose” or, in japanese, “存在意義” – the “meaning of [its] existence”. Tatsuya’s Scenario doubles down on that, with Philemon’s avatar, Nodens, literally saying humanity should try to understand the meaning of why life exists, with the option of denying the meaning of life giving you Death cards. The writers aren’t really that subtle in trying to say Makoto’s/Kotone’s “answer to life” is the “meaning of existence” stated by Philemon.

So all in all, this means the Universe is the collective unconscious itself. Not a fragment of it, or just holding a part of its power, but ALL of it. And at the same time, it’s also the full realization of it, the dispersal of all unconsciousness and primitiveness into an harmonic whole that knows itself, equal in every sense to the incarnation and realization of the Ein Sof within the tree of life. It’s the archetype of all humanity (ie. the source of the previously mentioned Adam Kadmon) and life, their potentiality and meaning, their purpose.

“Not only do things appear personified as human beings, but the macrocosm personifies itself as a man too. ‘The whole of nature converges in man as in a centre, and one participates in the other, and man has not unjustly concluded that the material of the philosophical stone may be found everywhere.’”- Alchemical Studies

“This place called Kadath Mandala is constructed in the shape of a hexagram, containing an older pentagram emblem. The hexagram represents the vast macrocosm of space and the pentagram is a symbol of the microcosm known as humanity.” - Cat Lieutenant General Zula, Gone Without Trace, Tatsuya’s Scenario.

That’s why Igor was so surprised at someone achieving the Universe. That’s why he said that “nothing is beyond your reach”. Because the Universe is the “godhead”, the collective and unconscious soul of life, finally realized. The manifestation of what once created a future out of a certain death… out of what can be better described as the primordial nothingness that precedes creation

“I see nothing... No... What I see is nothingness... It is the void... But do not lose heart... Emptiness is not necessarily the end... The void is infinite... As is the universe... Whether this marks an end to all things, or a beginning... It is in your hands…” – Fortune Teller, P3

If the Universe is the full realization of life and the collective unconscious, then “Nyx” can be understood as its origin, as pure unconsciousness, neither stagnant nor chaotic, but both at the same time. Such universality is actually supported by the developers themselves, with Soejiro even stating the following in regards to Tartarus:

“This was drawn with the notion that the higher you climb in Tartarus, the deeper you delve into the subconscious. It also reflects the fact that Tartarus and the Shadows are one in the same since they both represent the human psyche.” - Art of Persona 3

And it’s important to keep in mind Tartarus has seven blocks: Thebel, Arqa, Yabbashah, Tziah, Harabah, Adamah… and Eretz, its rooftop. Each name is derived from one of the seven earths Adam wandered after being expelled from the Garden according to jewish folklore, meaning each block represents a more primitive and ancient layer of the unconscious until the origin of humanity, the Garden of Eden, is reached beyond Eretz, beyond the first earth and upmost floor of Tartarus, within Nyx’s own body. And I genuinely don’t think I’ve to explain the significance of the Star Eater’s core being a golden egg in this context, when such an object is common through a majority of creation myths.

Even more, returning to the tree of life, we have to look at the P3 x P4 World Analyze (transcriptions kindly uploaded by Elle-P), which states that every block of Tartarus also symbolizes the different sephirot of the tree, with the whole tower representing the body of the godhead being hanged upside-down. In particular, Eretz is said to represent Binah, Chokmah and Kether, the three highest sephirot, meaning that Nyx’s body exists beyond the tree of life itself, and only the Ein Sof exists beyond it…

(Well, the Ain and Ain Soph Aur exist beyond as well, but they aren’t that important)

Now, I could go on about the symbolism of Nyx and the protagonists, but that would only keep supporting what I’ve written so far, that the Star Eater may indeed be the most primitive, oldest form of the collective unconscious, being the anima mundi or “light” that shattered at the beginning of “time” to allow the creation of the universe (ie. life and consciousness). “She” is the Sophia turned into demiurge that must be rescued by its own creation – by itself.

Then, the final confrontation between the protagonists and Nyx isn’t only for the sake of present life, but also for all that has existed previously and its legacy, even Nyx itself. It’s the affirmation of life’s meaning and purpose against what once was and wishes to return to… and what must be ultimately confronted. It’s both the separation from everything that has happened, and its acceptance and forgiveness. That’s why the Universe can’t really go against Nyx, because they are the same, and thus the arcana must accept it.

In a certain way, it would explain the protagonists’ sacrifices and improve even more their development: after a life of repressing (and likely yearning for many things), when they confront what essentially is what everyone yearns for at some level… they let it go. They let themselves be filled by everyone’s wishes and hopes, and finally understand their relation to all of it, their value and meaning. They understand what they have in front of them and what it wishes for, and they accept it as well, for that’s what they are too - it’s a complete mirror for them and all of humanity.

The protagonists understand everything and how it bonds with itself - they understand themselves.

[fatehbaz]

A devastating rail crash that left almost 300 people dead has refocused international attention on the importance of railways in the lives of Indians.

Indeed, to many Western observers, images of men and women crammed into overcrowded cars serve as a metaphor for modern India. Take, for example, a report by German newspaper Der Spiegel on India’s population surpassing China’s. Published just weeks before the accident in Odisha province on June 2, the now much-criticized cartoon depicted a shabby Indian train crammed with passengers rushing past a streamlined Chinese train with only two people in it.

Where does this enduring image in the West of Indian railways – and of India – come from? As a scholar of Indian history and author of 2015 book “Tracks of Change: Railways and Everyday Life in Colonial India,” I believe the answers lie in the gigantic infrastructure projects of the 19th century – forged at the intersection of colonial dictates and capitalist demands.

---

A carrier of freight, not people

Railways remain the backbone of passenger traffic in India, transporting some 23 million people daily. In the pre-pandemic 2018-19 financial year, 7.7 billion passenger journeys in India. [...] Yet, when first planned in the 1840s, India’s railways were intended to primarily transport freight and livestock, not people. Indians were thought unlikely to become railway passengers by directors of the English East India Co., a merchant monopoly that gradually annexed and administered large parts of India under U.K. crown control. [...] However, early colonial railway policy was driven by pervasive Orientalist imaginings of a people rendered immobile by poverty, living in isolated villages [...]. The trope interlocked with colonial thinking that railways would foster greater industrialization which in turn would further a capitalist economy. They also aligned with the practical needs of a colonial trading monopoly which needed raw materials for English industries, such as cotton, to be moved swiftly and efficiently from India’s interiors to port towns [...].

---

Despite the doubters, the new Indian railways attracted an increasing number of passengers. The half-million passengers recorded in 1854 when tracks became operational increased to 26 million in 1875. By 1900, annual passenger figures stood at 175 million and then almost trebled to 520 million by 1919-20. By the time of the partition of India in 1947 it had risen to more than 1 billion passenger journeys annually. Indeed, images of overcrowded trains came to epitomize the upheaval of partition, with the rail system used to carry swaths of uprooted peoples across the soon-to-be Pakistan-India border. Third-class passengers, overwhelmingly Indians, comprised almost 90% of this traffic. These escalating figures did not, however, generate a lowering of fares. Nor did they result in any substantial improvements in the conditions of [...] travel. [...]

---

The generally British railway managers seemed disinclined to remedy systematic overcrowding, which included transporting passengers in wagons meant for livestock. Rather, they insisted that such overcrowding was caused by the peculiar habits and inclinations of Indian passengers: their alleged [...] inclination to follow one another “like sheep” into crowded carriages. These attributes were soon rendered into a more public narrative, especially among Western mindsets. Journalist H. Sutherland Stark, writing for the industry publication Indian State Railways Magazine in 1929, stated that though “unversed” in railway administration and traffic control, he knew railway facilities were not the problem. Rather, Indian passengers lacked the mental preparedness, “self-possession” and “method” necessary to travel like “sane human beings.” Stark suggested passenger education as a solution to the perceived problem, making railway travel a tool for “self-composure and mass orderliness.” [...]

---

More than a century later, this depiction endures, though, ironically, it now serves as a foil to understanding contemporary India. In a piece published in The New York Times on March 12, 2005, the author lauded the then-new Delhi metro, emphasizing that it had “none of the chaotic squalor of hawkers and beggars that characterizes mainline railroads in India, nor do desperate travelers hang from the sides of the trains.” As the debate rages on whether safety has taken a back seat to “glossy modernization projects” in India – early analyses suggest signaling failure might have caused June 2, 2023, accident – railways continue to represent India’s history.

In the heyday of empire, they were deemed the technology through which Britain would drag India into capitalist modernity. In 1947, they became a leitmotif for the trauma of the partition that accompanied the independence of India and Pakistan. As the coverage of Odisha accident reminds us, it continues to be a metaphor in the West for evaluating contemporary India.

---

Headline, image, caption, and all text above by: Ritika Prasa. “Overcrowded trains serve as metaphor for India in Western eyes -- but they are a relic of colonialism and capitalism.” The Conversation. 9 June 2023. [Bold emphasis and some paragraph breaks/contractions added by me.]

[ltstrikesback]

TLDR: Monkey Man was so beautiful and so much more than meets the eye.

Spoilers below/me being mildly pretentious:

As someone who has not gone to the movies to see anything other than queer films lately, my girlfriend got us tickets to Monkey Man. She practices jujutsu and likes John Wick and thought this movie would be similar.

I am a huge Dev Patel fan, though, when I saw the trailer before a viewing of Love Lies Bleeding, I figured I might not actually end up seeing it. I didn’t think I was the target audience. I also don’t love action heavy, guns blasting movies in theaters themselves because it’s a bit sensory overload for me. I felt myself make a mental note to watch it on streaming and already forgetting to do so. Flash forward to me and my partner in the theater and I was in awe.

This movie is about a small village who is violently forced off their land so the elite can build a factory. Dev Patel’s character—Kid—is a child the day the village is expelled. He witnesses his mother’s murder and years later seeks revenge on the man who killed her. When he fails to enact his revenge, he finds himself in a city wide man hunt, ending with him falling into a river, drowning. But he is saved! By a small community of hijra—trans women—who live in a temple nearby.

Walking into this movie I didn’t expect social commentary or politics. I anticipated a Rocky type movie, contained to the story of one individual’s hero’s journey. (People keep mentioning John Wick as a comparison. I just mentioned it in this very post but I haven’t actually seen it for the record.) Monkey Man is specifically not about one individual or one individual’s revenge. This was my takeaway. The message we see over and over is that there are things in this life bigger than ourselves. It is literally impossible to save yourself by yourself—you need community.

I’ll take a step back now to acknowledge that I am not sure how familiar everyone is with current politics in India. I myself have limited insight but have friends who are personally affected by the current climate. There is a strong wave towards Hindu nationalism under PM Modi. It’s yet another instance of what feels like the whole world turning to fascism. The movie uses real clips from real instances of social clashes to paint the landscape of this fictional city. Also, I was reading into the backstory and potential censorship of this film and learned the villain’s colors were originally orange, not red. A clear parallel to the current Hindu nationalism at hand. There are clips of crowds attacking trans people. There are boos at the mention of Muslims and Christians. There are scapegoats in this film that are intentionally pulled from real life.

Now to jump back in—I have to say I was completely moved by the entire sequence at the temple. The temple is dedicated to Ardhanarishvara—a god who is part woman and part man. The hijra community has found a home here, albeit on the outskirts of society. The leader tells Kid, “no one will come looking for you here.” Their status in society protects him in a serendipitous way. They are also the ones that nourish him and help him train for his next mission. Not only that, but we see this community smile, laugh, flirt, and fight. I loved the scene with Kid and the drummer, with the girls cat calling him from afar (same). It was so tender to see trans joy, even in mundanity, amidst persecution.

When Kid has self-actualized and essentially is Hanuman, the part monkey God the movie is named after, he takes on the political elites. There is a moment he is surrounded by bodyguards in this hotel sequence. He’s outnumbered and out comes our hijra fam to the rescue. They take down these men. And it is so fucking amazing. I mean, really, it’s so fucking amazing to see them fight for themselves, for each other and be the hero.

To wrap up, I also wanted to touch on the fight sequences’ production. I mentioned I don’t really like fight scenes because I get sensory overload but the music in this film resolved this issue for me. It wasn’t pure screams or gunshots. There was a really fun soundtrack that added a great twist to the film. Kind of reminds me when they break out electric guitars in Chinese historical dramas. Just another thing about this movie that really worked. At least for me personally.

Last thought—my take away is not necessarily to say “put Dev Patel in everything” which is happening in the online discourse. (There’s a weird opposite-of-cancel-culture thing that happens sometimes where audiences obsess and then forget about actors or artists. Idk.) Rather: let this man do whatever he wants. Give him your funding, give him your resources! He should not have to kill himself to tell his stories!

*Sigh* my heart has been so full since watch this. A huge shout out to Dev and his team.

[g0j0s]

[sketching-shark]

🔥 with Tang Sanzang or his Buddha of Glorious Sandalwood self, your pick

He would be SO much more interesting if he was written to be more like the historical Xuanzang than as a parody of Confucian scholars!!!

Feel like I'm preaching to the choir in some ways, but yea it's been remarked on by many another poster that of all the pilgrims Tang Sanzang does usually come across as the most static (with perhaps the exception of Bai Longma, but he spends most of his time as a horse so cut him some slack) and sometimes the most annoying. Which does make sense in a lot of ways, especially since you could reasonable argue that everyone's favorite weepy monk presents an early version of the "damsel in distress trope" given how often his role in the story is to get kidnapped and saved.

That said, it has been nice to see an uptick of people arguing that given the circumstances of having to wrangle three extremely dangerous yaoguai on a journey where he's routinely threatened with death by devouring and multiple instances of sexual assault, a lot of Tang Sanzang's even more frustrating actions do make quite a bit of sense, from using the headband against Sun Wukong to the favoritism towards Zhu Bajie (i.e. the one pilgrim who hadn't tried to kill/eat him). The monk doesn't change much over the course of the journey, but I'm in the camp that there's some pretty interesting implications about how he thinks & approaches the world! So three cheers to the og for making it crystal clear on just how messed up each of the pilgrims are lmao.

Even so, I do think it would be really cool if JTTW itself or retellings spent more time making the implicit explicit, as it were, and let Tang Sanzang grow and change as a character outside of his usual mandated tropes. I do think a lot of this could be accomplished by including more traits from Xuanzang himself, who if I'm remembering this right he was both a master translator, a savvy diplomat (having reportedly gotten along well with everyone from local rulers to bandits), and possessed a pretty amazing tenacity and set of travel skills. Not to mention I think it would be amazing if Tang Sanzang's story followed Xuanzang in that the historical monk was NOT permitted by the Tang emperor to travel west, but did so in direct defiance to that rule because he was that dedicated to reviewing the Buddhist scripture in India and bring its lessons back to China. Said as much before, but that situation could add a really interesting layer to the general image of the world JTTW presents!

[somethingboutafic]

To you I can admit, I'm just too soft for all of it by starryhaze (28,280) Rating: Not Rated Summary: “Harry?” Louis asks when he hears the frantic crying coming through the speaker. “H, darling what's wrong?”

Concerned, Louis puts on his shoes as he keeps hearing the sobs. It’s the middle of the night and the phone call has definitely pulled Louis out of his deep slumber, but Harry is crying, and Louis has to be with him.

“It’ll be okay, baby, I'm gonna come over, okay? You just- Haz you have to send me your address, yeah? Can you do that for me?” Louis asks, trying to remain as poised as possible as he presses his phone between his ear and shoulder so he can grab his jacket.

“No.” Harry cries out. “It's all wrong, Lou- It’s-” Another sob. “I hate it, Lou, I hate it so, so much, make it stop.”

the nesting shop au

leave it to the breeze by hattalove (81,459) Rating: Explicit Summary: a great british bake off au in which louis cares about winning and winning only, harry is made of sunshine and rainbow sprinkles, and niall sticks his nose into other people's business. also featuring liam as louis's best friend-slash-concerned mother, and zayn as a macaron connoisseur.

Hiding Green Smiles by HoldingOnToChaos (45,227) Rating: Explicit Summary: When Louis goes with Liam to a hidden sex shop, he discovers a new sex toy, the BiteMat, and he can't believe his luck. He loves being bitten, has a biting kink, even, and now he can be bitten over his bonding spot without the fear of anything permanent.

He hastily buys it to try with Harry, his friend and roommate, and his regular heat/rut partner for the last eighteen months. They've been friends-with-benefits outside heat or rut for eight months now, and Louis' been desperately in love with Harry for at least five of those months.

Or the BiteMat fic

sunshine, baby! by staybeautiful (106,528) Rating: Explicit Summary: Louis is in his first year of law school, Harry is a junior on the swim team dreaming of the Olympics, and they both agree that they don't have time for anything more than friends with benefits... right?

From This Moment On by therogueskimo (52,124) Rating: Not Rated Summary: Louis Tomlinson needs a tour photographer, and he thinks he's found the one in the mysterious H on Instagram.

Harry Styles swore he'd never do tour photography again - that is, until he did

no pressure, no diamonds ‘verse by karamelised (5 works; 71,463) Rating: ExplicitSummary: Louis is a thief, Harry a grifter.

I Figured It Out by therogueskimo (9,133) Ziam Rating: Not RatedSummary: The one where Liam and Zayn have their first kiss.

Just Breathe With Me by She_bear (90,410) Rating: ExplicitSummary: Louis and Harry meet at a yoga retreat in India, both struggling to reconcile ghosts of the past and uncertain about the future. Brought together by an irrepressible emotional and physical connection, they embark on a journey of self-discovery which will change their paths forever.

Maybe It's Heaven by therogueskimo (81,713) Rating: MatureSummary: When Harry Styles finds himself forced to go home for Christmas, the last thing he expects is to fall in love.

But then he meets Louis Tomlinson … again.

[harumscarumcos]

ykw, it actually is wild that people took from pav’s “chai tea” rant that he’s really enthusiastic about chai tea, when it’s more my guy is annoyed at the way people use the word outside his culture, which is highlighted by him going off on spot about his journey of self-discovery and coming to india

like what EYE got was that my boy will clock you in the back of the head for cultural appropriation/misuse of things in his culture but that’s just me

[mileapo]

ELLE Exclusive: Mile And Apo Chat About Their Upcoming Movie Man Suang

ELLE: Did you expect such long queues of fans awaiting you in India?

Mile & Apo (M & A): India was always on our bucket list to visit and explore, all thanks to its rich culture and diversity. And when it comes to the fans, we actually did have an idea of our Indian fanbase because our tags are always filled with their appreciative posts. But such a huge welcome was totally unexpected! The moment we saw fans waiting for us at the airport, we were ecstatic, to say the least.

ELLE: How did you embody your new characters in Man Suang?

Apo: We had several workshops with the director to get into the characters, as we had to go back in time to represent them. I also gave myself a lot of time to master this traditional Thai dance; its glimpse can be seen in the trailer, and it is now one of my favourite takeaways from the shoot.

Mile: I studied the way people used to live back in that time period because there were very rare representations of that time in movies or series for us. I researched the politics of this era, as well as the migration or export and import of culture, as multicultural representation is a big part of my character. I also learned to play some traditional musical instruments which is something new for me.

ELLE: Describe your characters’ roles in the film.

Apo: My character’s name is Khem; he is like an underdog in that era’s social scenario. He has this aspiration to climb the social ladder. Khem is a layperson who’s from a slave community. So to go above and beyond in this social drama, he uses traditional Thai dance. And as we know, Man Suang is a place for entertainment for up-per-class people. This is where anyone can be anything they want without being judged. And this is a mystery for him because this place is where class barriers are broken.

Mile: I play this character called Khun Chat, whom I would describe as a very sorted and defined man with a clear goal and a vivid mission, and he’s really true to him-self and his goal. Since day one, he’s the same person, and this is portrayed through the beauty and aesthetic of the movie. And along the journey, you will see the layers of his thoughts and character develop.

ELLE: What makes Man Suang different from other mystery or suspense films made in Thailand?

Apo: For me, it is the uniqueness of the story, which showcases an extremely different era, as well as the different sexuality of the characters, which will come to life through this set of hardworking actors. It’s not the typical static movie; this one is round and dynamic. There is a much-needed grey area in everyone’s character; nobody’s too good or too bad, which will be seen in a very organic way for the plot development.

Mile: The biggest key is the naturalness of each character, and that brings charm to the story. Man Suang has a cast that plays these diverse characters, and the plot itself deals with numerous issues that have some complexity, be it through the music, the suspense of the story, or the aesthetics.

ELLE: Which was your favourite scene to shoot for the film?

M & A: The shoot was overall a very different experience for both of us. And when it comes to our favourite shot or scene, we will surely say it has to be our emotional scenes because that’s where we feel more connected to our characters. And we expect that’s where the audience will see our characters in a different light as well.

ELLE: Will Man Suang release in India?

M & A: That is something we are surely hoping for. No matter which channels people can watch it on, we would love it to reach a global audience because its story is a mixture of cultures–whether it’s Thai, Chinese or even Indian. One of the biggest reasons for making this movie is to showcase our Thai culture to an international audience.

[theanviksha]

Hanuman Swaroop: A Unique Dussehra Tradition of Panipat

Dussehra is celebrated with immense devotion and excitement across India. While cities like Kolkata, Mysore, and Cuttack are famous for their grand celebrations, Gujarat is known for its garba and dandiya nights, North Indians invite the Goddess into their homes through Jagrata and Kanjika bhojan and organise Ram Leela performances, there Panipat has preserved a unique tradition that turns the festival into a form of penance - the tradition of Hanuman Sabha.

What distinguishes Panipat from the rest of India is that instead of paying a tribute to a form of Shakti, the divine feminine of Hinduism or to Shri Ram’s victory over demon Ravan, Panipat celebrates the devotion and power of Lord Hanuman.

In Panipat, men dress up as Lord Hanuman, becoming Hanuman Swaroop during Dussehra. This transformation is not merely a performance but an act of devotion, one that requires immense mental and physical discipline. The journey to become Hanuman Swaroop involves a strict 41-day vow of celibacy, intense prayer, and dedication.

The Sacred Preparation

To embody Lord Hanuman is not as simple as wearing a costume. The devotees must purify their mind and body through strict adherence to ritual and customs. For 41 days, these men live away from their families, practising celibacy and staying in temples or rented homes. During this period, they avoid salted food, walk barefoot, sleep on the ground, and avoid touching or coming into contact with any woman. They commission Mukut (crown) of Lord Hanuman, which normally weighs 15-20 Kilos, bring it to their place of stay with great pomp and show and worship it four times a day. Some people follow this ritual for the entire 41 days, while some follow it for the last 11 days.

This practice is deeply spiritual and reflective of the devotees’ commitment to Brahmacharya (celibacy) and self-restraint. It’s believed that only by this purification can they truly embody the spirit of Hanuman.

Becoming Hanuman Swaroop

From Ashtami (the eighth day of Navratri), these devotees take on the full form of Hanuman. They tie ghungroos (ankle bells) to their feet, cover their bodies with sindoor (vermilion), and wear the imposing crown. This heavy adornment symbolises the weight of responsibility they now bear as they become living incarnations of Hanuman, blessing the people of Panipat.

For the next few days, they roam the streets, blessing people, dancing with elation while chanting "Jai Shree Ram" and "Jai Hanuman". Their presence fills the city with spiritual energy, and the chants of devotion and beats of drums echo through the streets all night long. Even children join in this tradition,becoming little adorable versions of Hanuman Swaroop, fondly called Banar Sena (army of apes that fought for Shri Ram).

The residents of Panipat invite the Hanuman Swaroop and their entourage to their homes. They do their aarti, offer bhog, take blessings and dance and celebrate with them.

A Tradition Rooted in History

This unique practice is said to have been brought to Panipat by the Laiyya community after Partition. For them, this tradition became a way to build identity and find solace in a time of displacement. Over the years, the practice has become synonymous with Panipat’s Dussehra, deeply embedded in the city’s cultural fabric.

Dussehra Beyond Hanuman Swaroop

The celebrations in Panipat don’t stop with Hanuman Swaroop. The city also hosts vibrant Ram Leela performances, reenacting the epic battle between Lord Ram and Ravan. On Dussehra day, effigies of Ravan, Meghnad, and Kumbhkaran are set ablaze, symbolising the triumph of good over evil. The air is thick with excitement and devotion, as people gather to witness these powerful moments.

Following the victory of Ram, the festival culminates in Bharat Milap, a celebration of the reunion between Ram and his brother Bharat, symbolising love, loyalty, and devotion. This heartwarming event brings the grand festivities to a close, leaving behind a message of unity and righteousness.

Panipat’s Hanuman Sabha reminds us of the power of tradition, devotion, and discipline in today's fast-paced world. The practice of becoming Hanuman Swaroop—a fusion of spiritual devotion and physical endurance—is a rare sight that preserves the essence of Dussehra in its purest form.

If you’ve ever had the chance to witness this unique Dussehra celebration, you’ll know it’s more than just a festival. It’s a reflection of faith, sacrifice, and the timeless connection between humans and their gods.

How do you celebrate Dussehra in your hometown? Let me know in the comments!

[hidelias]

A bend in space-time S2 || a TUA fanfiction

What if, through the whole story of The Umbrella Academy, Klaus had had someone to have his back? I chose to insert an OC - Rin - into the plot of the series, appearing almost only in deleted scenes. This fic is not a self-insert nor a OC-centric fic : Rin exists to flesh out the canon characters, and the fic is mostly focusing on Klaus. Please read the introduction for more details ♡ You can find the table of contents for season 1 here.

TABLE OF CONTENTS

🎧 Music is a major part of The Umbrella Academy, and so it is in this fic. You can find the full playlist of this season here : AO3 - Wattpad - Spotify.

Chapter 1: Are you lonesome tonight? AO3 - Wattpad - FFN

With a crash, Rin is released by the time vortex. After escaping the 2019 Apocalypse, she soon realizes she's alone… in Dallas… in 1961.

Chapter 2: Hello, Goodbye AO3 - Wattpad - FFN

Rin has taken refuge in an abandoned house and is looking for something to eat. Thanks to Mark, a homeless man, she discovers… that the house she's been squatting in is haunted.

Chapter 3: A jumble of hair, leathers and linen AO3 - Wattpad - FFN

Thanks to the ghost of old gardener Wayne Wilson, Rin has been able to reach Klaus, who's coming to pick her up. And he seems… to have changed a lot.

Chapter 4: Shiny, happy people AO3 - Wattpad - FFN

Klaus takes Rin to the 'Destiny's Children' mansion, where he has established a proto-hippie community. Rin discovers that they are about to set off on a road-trip to Mexico and South America.

Chapter 5: On the Road AO3 - Wattpad - FFN

Aboard the painted bus that Klaus calls Priscilla, the 'Destiny's Children' travel through Baja California. Rin begins to realize just how much these journeys will change her.

Chapter 6: Snippets of Destiny AO3 - Wattpad - FFN

At the end of 1961, the 'Destiny's Children' make a stopover in Reykjavik, Iceland, and celebrate the passing of the New Year with an unusual ceremony.

Chapter 7: Marigolds on the Ganges AO3 - Wattpad - FFN

In 1962, Klaus takes the 'Destiny's Children' to India, on a journey of great importance to him, between meditation and yoga. Their trip takes them to Varanasi, where the spirits of the dead peacefully depart.

Chapter 8: Come hell or high water AO3 - Wattpad - FFN

Rin did not follow Klaus and the Destiny's Children to San Francisco. Back on Dallas' often harsh streets, she's now looking for a job… against the obstacles of 1963 society.

Chapter 9: Childhood's end AO3 - Wattpad - FFN

Rin started working for Merelec, a small electronics repair business on Glen Oaks street. On the back balcony, she meets David, the nephew of the owner of the hardware store next door.

Chapter 10: Snippets of Memory AO3 - Wattpad - FFN

At the end of summer, David returns from a military camp, full of ideals that worry Rin a lot. Suddenly, a phone call brings sad news, prompting a discussion with Klaus that turns everything around.

Chapter 11: The machinery of the universe AO3 - Wattpad - FFN

Exhausted by a rush of work and TV repairs due to JFK's forthcoming visit to Dallas, Rin receives Five's unexpected visit to the store.

Chapter 12: Heavy handfuls of curls AO3 - Wattpad - FFN

Thanks to the Destiny Children's connections, Rin got Klaus out of prison after he was arrested for stealing a vehicle. At nightfall, she heads to Kitty's Manor in the hope of finding him there.

Chapter 13: Lemonade by the pool AO3 - Wattpad - FFN

Rin spent the night at Kitty's mansion, where Klaus is resting in a pool improvised in the ornamental basins. Suddenly, she hears a woman's voice she recognizes at once: Allison's.

Chapter 14: Jailhouse Rock AO3 - Wattpad - FFN

Based on a plan carefully masterminded by a very enthusiastic Ben, he, Klaus and Rin proceed to… the spectacular liberation of Raymond Chestnut.

Chapter 15: The Scorpion and the Frog AO3 - Wattpad - FFN

In the evening, following Klaus's visit to Dave at the hardware store, Allison calls Rin to come and give him advice.

Chapter 16: The crossroads of our lives AO3 - Wattpad - FFN

After anxiously awaiting Dave's return from Stadler's, Rin tries to spend some time with Lloyd. Of course, this is the moment Klaus chooses to come crashing to the door.

Chapter 17: Oikade AO3 - Wattpad - FFN

After the incident between Klaus and Lloyd, Rin takes refuge in the alleyway where she had arrived in 1961. There, Five finds her and talks to her about… "going home".

Chapter 18: The ache for what never was AO3 - Wattpad - FFN

After spending the night at ghost Wayne Wilson's house, Rin returns to Glen Oaks… and meets Dave again.

Chapter 19: A river flowing through infinity AO3 - Wattpad - FFN

Rin has finally decided to return to the Destiny Children's Mansion. There, she's gardening with Jill… while Klaus receives an unexpected visit from Dave.

Chapter 20: A light supper AO3 - Wattpad - FFN

With a clear feeling of anticipation, Rin attends Reginald Hargreeves's invitation to 'A Light Supper'.

Chapter 21: The lone wolf from Team Zero AO3 - Wattpad - FFN

After their "light supper", Rin reviews the evening's events with Diego, while Klaus laments about Ben taking over his body.

Chapter 22: At the threshold of nirvana AO3 - Wattpad - FFN

Just as she's about to leave to do some gardening, Rin runs into Klaus, who is coming down from the ' Destiny's Children' Mansion, and who turns out to actually be… Ben.

Chapter 23: Azure dust into the Void AO3 - Wattpad - FFN

Rin goes to old ghost Wayne Wilson's house to complete her part of the deal that allowed her to find Klaus back in '61.

Chapter 24: Dedicated against all odds AO3 - Wattpad - FFN

Returning to the Destiny Children's Mansion, Rin meets Luther. She realizes how lonely he is, and has an important conversion with him.

Chapter 25: Ethereal whirlwinds AO3 - Wattpad - FFN

Rin was called urgently by Klaus to Allison's house to help her get rid of a 'bulky waste'. But Diego returns to announce Viktor's imminent involvement… in the threat of a new apocalypse.

Chapter 26: A conflict of interest AO3 - Wattpad - FFN

Viktor's deflagration has been devastating, and Rin blacked out. She wakes up in a place outside space-time, where she remembers having been before… once.

Chapter 27: Children ride in the back AO3 - Wattpad - FFN

In Eliott's little room, Klaus is slumped on the bed. He's lost Ben, he's lost Rin. But Rin's ghost… seems to have been successfully summoned.

Chapter 28: There were only seven of us AO3 - Wattpad - FFN

At the Cooper farm, young Harlan struggles to control his emotions and the bits of power passed on by Viktor. Rin, too, strives to regain her vital energy and materiality. But suddenly…

Chapter 29: Qué será será AO3 - Wattpad - FFN

While struggling to regain her materiality, Rin tries to comfort young Harlan, terrified in the barn's basement. But suddenly, gunfire breaks out upstairs…

Chapter 30: The end of something AO3 - Wattpad - FFN

Time resumed its course, and night is falling on the Umbrella Academy's last day in 1963 Texas. For Five has obtained a briefcase… and soon, he'll bring everyone back to 2019.

---

<< Prequel || Season 1 || Season 3 coming soon >>

[areyougonnabe]

Tell us your favourite fact or piece of information about a polar expedition

this is the one that comes up in conversation the most that the people i'm talking to (fellow polar nerds) don't know - but basically, one of my areas of interest is THIS mfer, Sir Clements Markham. now let it be known i don't like him or "stan" him by any means i think he's for the most part a terrible person lolol but i am fascinated by him and have done a lot of research into his life and work:

most people know him as the guy above, the *ahem* controversial old fogey who was more or less the driving force behind the british end of the heroic age of polar exploration. but when he was a teenager, and looked like THIS:

he was on one of the early Franklin search expeditions in 1850-51, on board the Assistance under Captain Ommanney, sister of the Resolute under Captain Austin. this was his last journey with the Royal Navy - he only lasted about five years, he wasn't really cut out for the lifestyle (except for the parts where he got have intense life-destroying crushes on his superior officers) - but it was definitely the most impactful. it left markham with a singular, youthful and optimistic impression as to what polar exploration was all about. homosocial camaraderie, midwinter entertainment, effortful manhauling, geographical discovery, honor and bravery in service to the Empire. et cetera. (can you see where this eventually is going?)

this myth-through-experience grew and grew over his adult life as he worked his way up through the imperial bureaucracy, first at the India Office and later at the Royal Geographical Society, which was to be his most long-lasting professional association.

he participated in the organization of the Nares expedition in 1875, but when that was a resolute failure he bided his time until the 1890s, when support for antarctic discovery began to grow amongst the scientific establishment.

during the time that he was working on drumming up support for what would eventually become Scott's first expedition on the Discovery, in the mid-to-late 1890s, he was working on a, let's say, "private manual of devotion." this was a lengthy manuscript with an equally lengthy title:

James Fitzjames: the story of the friendship, devoted zeal for the service, high souled courage, self denial, and heroic deaths of 129 British Naval Officers and Seamen - A Romance based on information and on facts so authentic and so numerous that it must be very near to the truth.

as you can probably tell already. this was a piece of work. its first few chapters are indeed "based on information" - biographies of Franklin and his officers, often using details Markham received secondhand from men he'd met who actually knew them. (apparently he went around asking everyone he ever met if they'd known anyone on the FE and could they tell him about them which, relatable)

but then after the ships leave Disko and the historical record, the story turns to pure fancy. markham is, as you may have noticed from the title, absolutely obsessed with James Fitzjames to a psychosexual level. he was the "beau ideal" of an officer to Markham. (they never met!!! i might emphasize!!!!!) according to good old clem, if Fitzjames had been in charge of the expedition entire, it would never have perished - the fate that befell them was due to Franklin and Crozier's aged stiffness and inability to adapt.

going into detail about the rest of this frankly bonkers fanfiction would take ALL DAY i swear to god BUT highlights include: a self-insert character named "Baby" who swears fealty to Fitzjames, at least three midwinter theatricals described in detail incl. crossdressing, egregious and disgusting racism against the inuit, pop culture references, a complete and hilarious mix-up of the expedition ranks due to clem not having access to the full roster (jopson as caulker's mate!!!!), and of course lots and LOTS of men dying piously and nigh-erotically in each others' arms. of course there is no cannibalism whatsoever and the men are devoted to the naval hierarchy until the very end.

anyway, the fetishization of youth and inexperience which is visible in the story is quite glaringly tied to markham's selection of scott for the 1901 expedition. at the very least subconsciously, he wanted to recreate the FE with a "Fitzjames" in charge, thinking that would be the key to success.

and to that we can only say: LO fucking L.

[nancydrewwouldnever]

THE GLOBE AND MAIL (TORONTO)

GAYLE MACDONALD PUBLISHED FEBRUARY 9, 2009

When Chris Evans is not on a movie set - spewing testosterone, saving the world, helping dames in distress - the handsome actor can usually be found at a dog park in Los Angeles. It's an inner-city haunt where he takes "the love of his life," a cheeky American bulldog named East.

"He thinks he's human," says the chuckling 27-year-old Massachusetts native. "We'll go to the dog park, and he sits on the bench, with the people. And he just looks at the dogs like, 'You idiots. Running around. Rolling in the dirt. Please!' He's just so above it. He's the greatest dog in the world. I can't get enough of him."

Evans, who grew up Catholic but has since embraced Eastern spiritualism, is in the dining room of Toronto's Drake Hotel, chatting about his new science-fiction thriller, Push, in which he co-stars with Dakota Fanning and Camilla Belle. Oblivious to the furtive glances being lobbed his way by some young women in the room, Evans has morphed of late into the go-to guy for directors who want brawn, but not beefcake. He's an actor (Cellular, the Human Torch in the Fantastic Four films) whose heroes have a sensitive, vulnerable side - but can still kick ass.

Good-looking, in a Boston-bred, Matt Damon kind of way, Evans says he's perplexed by how his career has moved into these nice, tough-guy roles. "I don't know how it's happened, to be honest," says Evans, also part of the ensemble in Danny Boyle's 2007 sci-fi thriller Sunshine.

"It's not intentional. It's certainly not deliberate," says the actor, scratching chin scruff. "It's just kind of come that way. But they're not kicking down my door, by any means. These are roles that I still have to go out and compete for.

"I like sci-fi, paranormal stuff, but it's not the top of my list," adds Evans, who dated actress Jessica Biel for several years. "I primarily like stories about family. About friendship. Stories that are just really simple.

"And oddly enough," he says with a laugh, "I've yet to make a movie that is really like that."

In Paul McGuigan's Push (which opened in theatres on Friday), Evans plays Nick Gant, a second-generation telekinetic - or "mover" - who has been in hiding since his father (another mover) was murdered by The Division. When the film starts, Gant is hiding in Hong Kong, trying to stay off the radar of The Division, a shadowy government body hell-bent on transforming citizens into an army of psychic warriors, and murdering those who aren't in sync with their program. Gant meets Cassie Holmes (Fanning) - a "watcher" who can read the future - and the two become the hunters and the hunted as they try to save civilization.

Evans said it was a treat working with the 14-year-old Fanning, who he adds must have grown four inches in the nine months since they shot Push. "I remember hearing her name circling the project, and that definitely sweetened the pot. She's so phenomenal. Having her part of it brings a certain class to the film."

In his spare time, Evans says he and his faithful hound travel back to the East Coast to visit his parents and three siblings, and not long ago - through a "life class" he's part of in Los Angeles (hence the aforementioned spiritualism) - he also journeyed to India's mountainous region in the north.

His decision to take the class, he says, was primarily to find a better way of dealing with the "crazy, sometimes horrible" side of L.A. "It's helping me to manage perception, ego, mind and self. The class tries to present a way of looking at your life, where you focus on staying present and not let your consciousness get out.

"For a while, I foolishly thought that [Hollywood] wouldn't be a difficult thing. Acting is my passion - and I love it - but I believed I'd always have a firm handle on it. I can say, openly and humbly, that over the past few years it's become more difficult. I've thought about moving out of L.A., but for now I'm there, and the work is there. I have great books that I go to on a daily basis just to inject some sanity back."

That said, he adds, some of his greatest friendships have been forged in his nutty business. And he counts Oscar-nominated director Boyle (Slumdog Millionaire) as one of the most exemplary people he's had the fortune to meet - and work with.

"I don't know if you've ever met him, but he's the kindest man in the world. He's genuine. Sincere. And when he speaks to you, he'll look right at you like you're the only person in the room," he says, before interjecting: "Did you know he was going to be a priest?

"The guy just reinvents himself. Whatever he just did, he'll go to the other end of the spectrum [on his next project]and try something completely different. And he nails it every single time. I'm thrilled for him," says Evans, referring to Slumdog Millionaire's 10 nominations for this month's Academy Awards.

"He has the right to everything he's getting right now. He totally deserves it all."

~~*~~

Another earlier Push era interview culled from the archives at the Chris Evans Forum. They're amazing for having kept these older articles around.

[gauravsinha]

Diwali Celebration and Its Impact on Emotional Intelligence

Diwali, also known as the Festival of Lights, is one of the most widely celebrated festivals in India and around the world. Beyond its cultural and religious significance, Diwali holds the power to influence emotional intelligence positively. This article explores the various aspects of Diwali celebrations and how they contribute to enhancing emotional intelligence.

Cultural Unity and Social Bonding: Diwali brings people from diverse backgrounds together, fostering a sense of cultural unity. The act of celebrating with family, friends, and even neighbors promotes social bonding. Such connections play a crucial role in the development of emotional intelligence, as individuals learn to understand and empathize with others.

Joy and Positivity: The festival is synonymous with joy and positivity. The exchange of gifts, decorating homes, and lighting lamps create an atmosphere filled with happiness. These experiences contribute to emotional well-being, enhancing one's ability to manage emotions and approach life with a positive outlook.

Gratitude and Generosity: Diwali emphasizes gratitude and generosity. The practice of giving and receiving gifts, sharing meals, and contributing to charitable causes during this time promotes a sense of empathy and compassion. Engaging in such acts fosters emotional intelligence by nurturing an understanding of the needs and emotions of others.

Reflection and Self-awareness: Diwali is a time for self-reflection and introspection. Individuals often use this occasion to assess the past year, set goals, and express gratitude for accomplishments. This introspective aspect of the festival contributes to increased self-awareness, a key component of emotional intelligence.

Coping with Change: The festival signifies the triumph of light over darkness, symbolizing the victory of good over evil. This symbolism encourages individuals to face challenges and changes in their lives with resilience and optimism. Developing the ability to cope with change is a fundamental aspect of emotional intelligence.

Family Bonds and Emotional Support: Diwali is a family-oriented celebration where families come together to share moments of joy, perform traditional rituals, and create lasting memories. These family bonds provide a strong emotional support system, nurturing emotional intelligence by fostering a sense of belonging and security.

Mindfulness and Rituals: The rituals associated with Diwali, such as lighting lamps, performing prayers, and participating in cultural activities, promote mindfulness. Engaging in these rituals encourages individuals to be present in the moment, enhancing their emotional awareness and mindfulness, crucial elements of emotional intelligence.

In conclusion, Diwali is not just a festival of lights; it is a celebration that significantly contributes to the development of emotional intelligence. Through cultural unity, positivity, gratitude, self-awareness, resilience, family bonds, and mindfulness, Diwali creates an environment that nurtures emotional well-being. As individuals immerse themselves in the festivities, they unknowingly embark on a journey towards enhanced emotional intelligence, making Diwali not only a cultural celebration but also a powerful catalyst for personal growth.