#perhaps people that influenced themselves as artists

[determinate-negation]

maybe I am wrong but I think there's an interesting paradox in zionism's denial of the diaspora and it's appropriation of the diaspora because it can't form a culture without taking from the diaspora itself

its a paradox of zionism in general, from its start its been a movement that took cultural and political influence from its surroundings– being 19th century europe– its a colonial and nationalist project modeled after other colonial and nationalist european projects, yet tries to portray itself as indigenous. part of this is from shifts in political atmosphere and self-perception of zionism over the past 100 years. but there is an 'israeli culture' you can point to that is not taken from the diaspora but rather an inversion of what it conceives the diaspora to be, for the diaspora to be seen as weak, sickly, overly intellectual, cosmopolitan and disconnected from the land, thus israeli culture is more militaristic, chauvinistic, with an emphasis on the masculine, fetishizing labor and agricultural work. the paradox is this cultural conception is basically lacking everything that made jewish diaspora culture interesting and leave a long lasting mark on western history, jewish culture as a minority culture in particular. i think the cultural output of colonial or imperial nations mostly interested in projecting strength and militarism is generally poor, chauvinistic, and easily forgotten because it lacks the qualities that make particular things significant historically artistically etc. like look at the cultural atmosphere of the weimar republic, or even imperial germany (after relative) jewish emancipation and the influence of minority cultures vs cultural production in the nazi period and afterwards, or american settler culture in the colonial period vs cultural forms created by oppressed people in america. if you are interested more specifically in israels conception of itself as like a negation of the diaspora the artist eli valley made a cartoon about this, israel man and diaspora boy. israeli society historically tried to erase diaspora culture within israel, like discouraging people from speaking yiddish and banning yiddish cultural production. but also needed to construct a positive cultural identity (i dont mean positive to mean good, just like as in creating something rather than negating or destroying) and appropriated palestinian culture, through taking indigenous names, food, etc. if you want to read about this process in israel as well as other settler colonies like australia and canada and the us the article settler colonialism and the elimination of the native by patrick wolfe is a pretty significant article. i would say as far as i can tell israeli culture today seems to be mostly predicated on this, not appropriation of diaspora jewish culture, which they seem to look down on generally. but theres not much interest in israeli literature or art worldwide, besides in germany (lol), and perhaps their failure to create anything worthwhile is part of why israeli archival and academic institutions seek to claim ownership of diaspora jewish culture. part of it is just to legitimize themselves and give themselves prestige as well i think

[yuveenti-blog]

Astrology Observations: 💘💡 Clocking Your Tea💡💘

Disclaimer: As always, if this doesn't resonate with you, feel free to disregard it. While not everything will be relevant to everyone, most will find value in these ideas. I also want to express my gratitude to everyone who has liked and shared my post; your interest fuels my passion for creating content. A big thank you to my new followers as well—your support means the world to me, and I truly appreciate everyone who engages with my work.

* Aries individuals are among the most emotionally attuned signs in the zodiac. Imagine the delicate nature of infants; Aries share that same sensitivity. When their needs and wants go unaddressed, they can find it particularly challenging, often leading to behaviors that reflect their less favorable traits, such as anger, irritability, and even bullying tendencies.

* Taurus individuals truly stand out as some of the most visually appealing signs. They have a unique ability to manifest their visions of beauty, love, and luxury in tangible ways. Known for their exquisite taste, they often have stunning homes, stylish cars, and a flair for fashion and beauty. Their dedication to these aspects of life is unwavering, as they continually strive to elevate their surroundings. These are the people who truly personify aesthetics.

* Gemini is a sign that often leads to confusion, as mastering its energy can be quite challenging. Governed by Mercury and symbolized by the twins, it reflects a constant internal struggle. While many label Libra as indecisive, Geminis often experience a deeper turmoil. Their dual nature can trap them in a cycle of overthinking, which can inflate their egos. This ego-driven mindset frequently results in significant life challenges. Much like certain artists who thrive creatively during their most painful moments, Geminis often find their brilliance and creativity intertwined with their struggles.

* Cancers are among the most complex zodiac signs. When you think of individuals who are tough, resilient, or even a bit enigmatic, Cancers fit that description perfectly. Their protective crab shell symbolizes their desire to shield their vulnerable side. This means that Cancers are unlikely to reveal their softer emotions unless they feel safe and secure. If someone calls a Cancer overly emotional, it’s likely because they’ve lowered their guard around you, or perhaps you simply spend a lot of time together.

* In my view, Leos are intriguing individuals who can be quite difficult to read. Much of their persona is shaped by how others perceive them; when they are popular, well-liked, or possess conventional beauty, they embody the classic Leo traits, radiating confidence and charisma. However, it becomes challenging to identify those Leos who lack that external affirmation—those who may be loners, face disapproval, or don’t fit the traditional mold of attractiveness. These quieter Leos often get misidentified as other signs because they don’t display the typical Leo bravado and may even come across as reserved. Interestingly, they can sometimes resemble Aquarians, their astrological opposites.

* I see Virgos as being just as unfocused as Geminis, both influenced by Mercury. However, Virgos tend to manage their scattered energy more effectively because their essence is geared towards purification. Even when they seem all over the place—dabbling in various interests, skimming through books, or leaving projects unfinished—they rarely remain in that state for long. This is often a reflection of Mercury's elusive nature. Yet, Virgos possess an inherent drive to create order and clarity, which ultimately leads them to commit to deeper learning, dedicate themselves to a hobby for mastery, and complete that book they started.

* Libras often come across as feeling incomplete. The scales symbolize an intrinsic imbalance within themselves that they strive to rectify through relationships with others. This tendency leads me to believe that Libras struggle to thrive independently, which can sometimes result in a negative perception of them. Their difficulty in being alone may push them into a less authentic version of themselves, characterized by co-dependency and passive-aggressiveness. It's quite rare to encounter a Libra who isn't surrounded by friends, a partner, or some form of companionship. While some might assume that Libras possess an open-mindedness that allows them to appreciate various perspectives, the reality is that they tend to befriend just about anyone. Their diverse dating experiences may suggest a broad mindset, yet I find that many Libras, like several air signs, can be surprisingly close-minded.

* Scorpios seem to place a high value on their reputation. Many of them are remarkably perceptive, able to adapt their personas to blend in seamlessly, much like chameleons. Their enigmatic nature means that only a select few truly understand who they are beneath the surface. Often, they present a façade to the world, making it challenging to uncover the genuine Scorpio.

* Sagittarius strikes me as a sign that can embody two distinct lifestyles. With its dual nature of being part animal and part human, some Sagittarians are exuberant, straightforward, and the life of the party, always chasing after fun and excitement. Conversely, there exists a more sophisticated side to Sagittarius. These individuals often lean towards spirituality or religion, seeking deeper truths and understanding. They tend to intellectualize their experiences and may feel a need to refine their more primal instincts, striving for a higher state of being akin to the meticulous nature of a Virgo.

* Capricorns often come across as individuals who equate their worth with material possessions. They possess a certain self-awareness, recognizing that they may not always present the best image or have the most charming personality. However, they derive a sense of superiority from owning a beautiful home, luxury cars, or holding a high-paying job. These symbols of wealth bolster their self-esteem, even though they frequently grapple with insecurities regarding their appearance and character.

* In my view, Aquarians have a penchant for embracing the unconventional. It seems to me that they find the idea of being "normal" rather dull and prefer to stand out for the thrill of it. Many of their choices stem from a desire for excitement. However, there's a paradox to their nature; despite their seemingly open-minded demeanor, they can be surprisingly rigid in their beliefs. They often hold strong convictions that don’t easily sway. Additionally, their forward-thinking mindset can create friction with others, as they tend to focus on distant possibilities rather than the present. This future-oriented perspective can make them appear somewhat detached. Co-ruled by Saturn, they often find themselves caught between a serious approach to life and the exhilarating pull of Uranus, which fuels their desire for adventure.

* Pisces often reminds me of both Gemini and Scorpio. Their energy tends to be quite scattered, leaving them frequently uncertain about their next steps, caught in a web of indecision. They can easily become overwhelmed by their emotions, which may lead to a sense of aimlessness in their lives. This emotional depth is reminiscent of Scorpio, as they often craft a particular image for themselves. For example, they might project a tough or unkind persona, appearing as a bully or someone hard-edged, when in reality, they are deeply emotional, gentle, and nurturing. Their environment may pressure them to adopt this façade. Conversely, they can also present themselves as sweet, innocent, and compassionate, yet underneath that exterior, they might display rudeness or disrespect. This duality in their personality often stems from their experiences in life, leading them to shape their identity in complex ways.

* Many individuals resonate more with their rising sign. For instance, Aries rising folks often perceive themselves as adventurous, bold, and daring. In contrast, those with Taurus rising tend to view themselves as laid-back, steady, and goal-driven. Cancer rising individuals see themselves as nurturing, emotional, and caring, while Gemini rising people often identify as intellectual, social butterflies who thrive in conversation. Leo risings feel a strong connection to creativity, fun, and being in the limelight. Virgo rising individuals pride themselves on their refined tastes, attention to detail, and aesthetic sensibilities. Libra rising often see themselves as charming, sociable, and peaceful, while Scorpio risings may view themselves as introspective, observant, and somewhat reserved. Sagittarius rising individuals embrace a free-spirited, fun-loving, and adventurous outlook. Capricorn risings often identify as serious, ambitious, and reserved, while Aquarius risings see themselves as unique, logical, and different. Lastly, Pisces rising individuals tend to view themselves through a more dreamy and intuitive lens.

* Your moon sign can reveal how you sought comfort during your childhood. For example, an Aries moon might find solace in solitude, engaging in activities alone. A Taurus moon often seeks comfort through relaxation, pleasure, or by refreshing their surroundings with new items. Meanwhile, a Gemini moon thrives on acquiring knowledge and information to feel at ease. A Cancer moon focuses on creating a sense of home wherever they are. A Leo moon feels most comfortable when surrounded by admirers who offer constant praise. A Virgo moon finds comfort in establishing routines or diving deep into studies. For a Libra moon, socializing and spending time with friends brings a sense of ease. A Scorpio moon prefers solitude, finding comfort in time spent away from others. A Sagittarius moon seeks comfort through new experiences or outdoor adventures. A Capricorn moon feels at ease when they achieve their desires or surround themselves with material possessions. An Aquarius moon enjoys the company of diverse individuals or thrives in unpredictable environments. Lastly, a Pisces moon finds comfort in escapism, engaging in activities that nurture their imagination or allow them to process their emotions away from others.

* Women might feel a spark of sexual attraction towards a man if his moon sign aligns with their Mars sign. Similarly, a man could be drawn to a woman if his Mars sign corresponds with her moon sign. For example, a woman with Mars in Leo may find herself attracted to a man with a Leo moon, while a man with Mars in Aries might feel a strong attraction to a woman who has an Aries moon.

* The Mars sign can reveal whether your partner embodies the playful spirit of a golden retriever or the mysterious nature of a black cat. For instance, those with Mars in Aries tend to lean towards the black cat persona, just like Taurus Mars. Gemini Mars also fits the black cat description, while Cancer Mars is more akin to the golden retriever. Leo Mars shares the black cat traits, whereas Virgo Mars embodies the golden retriever qualities. Libra Mars also aligns with the golden retriever vibe. Scorpio Mars, Sagittarius Mars, Capricorn Mars, and Aquarius Mars all reflect the characteristics of the black cat. In contrast, Pisces Mars is more representative of the golden retriever.

* Someone you can chat with for hours might either resonate with your Mercury sign's modality or share the same house number as your Mercury sign. For example, a Mercury in Cancer and a Mercury in Pisces can engage in long conversations, just as a Mercury in Libra and a Mercury in Gemini can. Similarly, a Taurus Mercury and a Virgo Mercury can also enjoy extended discussions.

* It's not uncommon to feel a twinge of jealousy towards someone whose rising sign matches your sun sign. This stems from the fact that the sun represents your personal growth and evolution over time, while the rising sign reflects the traits you are born with, making those qualities feel more inherent. For example, a Leo sun might find themselves envious of a Leo rising, just as a Cancer sun could feel jealousy towards a Cancer rising. Similarly, a Scorpio sun may experience jealousy of a Scorpio rising, and a Sagittarius sun might feel the same way about a Sagittarius rising.

* A man might be drawn to you if your Venus sign aligns with his rising sign. For instance, a man with a Cancer rising could see a Cancer Venus woman as particularly beautiful. Similarly, a woman can find a man appealing when her Venus sign matches his rising sign. For example, a woman with a Pisces Venus may find a man with a Pisces rising attractive, just as a Taurus Venus might be attracted to a Taurus rising man.

* You could find yourself in a rivalry with someone who has the same sun sign as your Mars sign. For instance, an Aries Sun woman might experience competition with another Aries Mars woman, while a Leo Sun man could face off against a fellow Leo Mars man.

* You might notice a natural attraction to individuals whose rising sign contrasts with your sun sign. For instance, a Leo Sun may find a close connection with an Aquarius rising, while a Gemini Sun could easily bond with a Sagittarius rising. Similarly, an Aries Sun might develop a friendship with someone who has a Libra rising.

* A man might find himself drawn to conversations with you if your moon sign aligns with his mercury sign. For example, if his mercury is in Capricorn and your moon is also in Capricorn, he could genuinely enjoy chatting with you. Conversely, women often feel a strong connection to a man when his mercury sign matches her moon sign. So, if he has a Leo mercury and she has a Leo moon, she may find their discussions particularly enjoyable. Similarly, if he is a Cancer mercury and she is a Cancer moon, their conversations could be quite delightful for her.

* Typically, you might find yourself not fond of the sign that comes before yours, while feeling an attraction to the sign that follows. For instance, if you're an Aries Sun, you may have a distaste for Pisces but feel a pull towards Taurus. Similarly, if you're a Gemini Sun, you might not be keen on Taurus, yet you find yourself drawn to Cancer.

[meanbossart]

Ask Compilation: Advice, influences and Misc.

Apologies for taking so long on some of these, admittedly I'm much more likely to entirely forget about asks that are about me and my interests 💃 Thank you for all the questions regardless! And thank you specially to everyone who just drops nice messages into my inbox out of kindness.

I'm brazillian and a native portuguese speaker!

I'll probably return to twitter eventually, but a) I hate that place and b) It didn't make much sense to me to turn it into a BG3 account out of the blue. I am considering making an Instagram or a new twitter just to have more places where people can follow in case they don't care for tumblr, but it's just been a very busy year so far and so that's kind of low on the list of priorities. If I ever do that I'll be sure to announce it here. Have a nice day yourself!

Sorry to hear that! I've gotten a few messages before about this issue, and the problem is that since I am myself not from the US, my options are also limited :( a lot of patreon alternatives don't work for me because they either don't go through paypal, take insane currency conversion fees, or just straight up block me from signing up.

Speak for yourself, I just assume everyone I speak to online has committed some sort of atrocious crime until proven otherwise. Except for me - of course. I have never done anything bad in my life.

I still have a lot to learn! But I will basically use whatever works for me at the moment, as well as make a sincere effort to learn about musculature and anatomy so I can understand those components and how they move, instead of only knowing what they look like when still - that's how you get better at drawing from memory. Volume mostly comes from coloring and understanding light, which is it's own beast but can very much be learned from similar reference materials and observing it IRL!

My favorite places to get reference are medical diagrams, weird pictures I take of myself, 3D software (often Virt-a-mate) and questionably phrased image google searches.

My favorite artists are Jason Shawn Alexander and Sean Murphy, but I'm not sure how much of it reflects in my art nowadays! I generally seek to pick up techniques from artists rather than to emulate style.

Honestly I love that you guys generally do the thing he would hate the most: take him very non-seriously LOL

I've been in a real Chelsea Wolfe and Amyl And The Sniffers kick lately! But usually you'll also find me listening to stuff like Boy Harsher, Swans, FWF, JK Flesh Lingua Ignota, Nick Cave, David Bowie, and so on. Music for the weird gays, basically.

I went insane and wrote a 23-chapter-long-and-still-ongoing fic in like four months. But also - I'm not that good, I'm just shamelessly pretentious LOL

Hm. That's a good question, but I'm not really sure. Sincerely not trying to be a edgier-than-thou here (in fact, this has made me a little self conscious at one time or another) but a lot of art that I don't mean to be horror-y in nature at all has been associated with the genre. So perhaps I don't know what I'm doing either, LOL.

I think just leaning on making things look slightly "wrong" or "ugly" on purpose is the way, but I also find that if you just seek to depict people as they are instead of idealized versions of themselves, you will arrive at that either way.

Thank you for reading! Honestly, I'm guilty of having not read much at all since I was in my late teens, and the style I'm employing for ANE is very different from the things I would call "influential" for me, or even that I used to enjoy reading at all before. I read a lot of Chuck Palahniuk as a youth (and, no slight to people who do like him still, but nowadays I'm not sure why I ever did. His stories don't speak to me at all anymore) as well a lot of weird experimental lit that I didn't even care to remember the name of. My last book stint from one or two years ago was composed solely of historical and medical literature, and last year I got really into Cormac Mcarthy thanks to the internet.

So, all in all, I'm absolutely all over the place LOL if you put a gun to my head and told me to list my favorite books, I'd say The Indifferent Stars Above and Blood Meridian.

(Consider the reading portion of the question to have been answered above) I really really liked Beau is Afraid and think it's a really great "horror" movie. Sue me.

[marvelmaniac715]

The Lords in Black and Webby as content creators (they’re still siblings and they perhaps all lived in one Content House):

Wiggly:

Wiggly is your standard Big YouTuber - think Pewdiepie or MrBeast without the philanthropy. He’s gotten into feuds with EVERYONE and is highly controversial, his fans are mostly Dude Bros who excuse his actions because “Wiggly’s based, dude”. Nobody can quite figure out how he got so popular but any attempts to get his accounts deleted were stopped in their tracks by his loyal fans. He plays a lot of video games.

Pokey:

He’s a cover artist who has a Rachel Berry sized ego. He thinks he’s the best thing since sliced bread, and is actually better than that because bread can’t sing. He’s been booked as the opening act for a few bands so that inflated his god complex, but really he’s semi-average at best, the guy with a guitar at a party who’ll say “Anyway, here’s Wonder Wall”. He doesn’t have as many fans because although he’s proud of his voice he doesn’t like being seen, so he always has an avatar on screen to sing through (see what I did there?) alas, he is quite the elusive figure and he’s only ‘famous’ because of his family.

Tinky:

He’s the wacky, zany challenge guy who tries to break world records or play pranks on his siblings, he’s done at least twenty “Calling _blank_ at 3 am” videos and a lot of them are centred around FNAF. He also posts conspiracy theories and has been cancelled numerous times for stalking smaller YouTubers such as the Alpha Male influencer Ted Spankoffski. He’s rarely featured in his family’s videos for many reasons.

Blinky:

Blinky is a commentary YouTuber who reacts to various movies and tv shows. He’s famous in his own right because he picks up on small details in what he watches and is scarily good at figuring out where the plot is going - his viewers have an ongoing challenge amongst themselves to try and make him watch something that he can’t work out the ending of, but they haven’t been successful yet. Overall Blinky is pretty chill, he doesn’t get into controversies and he’s decent enough to anyone he interacts with - he’s genuinely nice to his fans and is a bit confused as to why his videos blew up.

Nibbly:

A Mukbang YouTuber as well as a chef and beauty influencer (on the side). He is just the sweetest ray of sunshine, with his signature bright smile and sign-off of “Remember, friends, spread kindness throughout the world, because we deserve more smiles!” He’s overlooked by his brothers when it comes to making content but he doesn’t mind; people are drawn to his enthusiasm and he’s one of the most popular brothers alongside Blinky because of the chill vibes he emanates - he’s the only one who’ll collaborate with Webby.

Webby:

Webby was kicked out of the Content House in disgrace when she spoke out against Wiggly’s cruel behaviour. She mostly dances but she also does song covers and fashion videos - a lot of her fans see her as an older sister because her videos are very informal, like you’re talking to your best friend over the phone. She also raises awareness for social issues and has launched several successful fundraising campaigns to help as many people as possible. Some people call her the Guardian Angel of YouTube.

[loversatthegreatdivide]

Heavy Lies the Heart - Chapter 7

Masterlist // Continue Reading

Pairing: Benedict Bridgerton x F!OC Word Count: 3k Tropes: mutual pining, fluff, angst with a happy ending, royalty Warnings: death Summary: When two second-borns looking for direction meet by chance, can they find purpose in each other? Or will circumstance keep them apart? A/N: Once again, I would just like to say thank you all for your continued support! This fic doesn't get many comments, but I truly appreciate the ones I do get (and I am terribly sorry I still can't reply to comments! I do see them I swear; it's tumblr's fault I don't answer! Sending asks is the only sure way I can respond at the moment.) At any rate, this is one of those shows were I have a difficult time gauging exactly how much time is passing from shot to shot, so I'm guesstimating on some of the timelines here.

After the arrival of the latest Lady Whistledown, gossip and whispers were abound. And while the public openly discussed the events of the evening with shock and delight, those involved chose instead to keep their conversations to themselves. The Bridgertons, the Featheringtons, and even the royal family had all featured heavily in the gossiper's latest edition, and all chose to keep any discussion of the matters with which they were involved amongst themselves.

Days passed, and soon talk shifted from what had happened that night, to where it would lead. And while speculation over the relationship of Princess Beatrice and Mister Benedict Bridgerton featured heavily in ladies teatimes throughout the ton, it was not the only topic of interest.

Miss Penelope Featherington had, rather understandably, avoided being seen out in society since her scheme with Colin Bridgerton had been revealed. Her scandal was hardy enough to warrant continued gossip in many a drawing room in the many days that followed. That is of course, between talk of the multiple Bridgerton children; whose actions and influence were, once again, the talk of the season.

Colin Bridgerton had quickly become one of the most desirable matches of the season. And while he had played a key role in the scandal involving Miss Featherington, his reputation remained wholly unaffected. So while the young ladies of the ton giggled and gossiped amongst themselves over Penelope's misstep, they could not help adding how desirable they found Mister Colin Bridgerton.

Then there was Francesca Bridgerton. While the news had been somewhat undercut by the actions of her elder brother, her choice as the season's diamond--or sparkler, as the queen choice to name her--was hardly something to overlook. Having the queen's favor made her an extremely desirable match, and the fact that her brother was now rumored to be attached to royalty certainly didn't quell any interest. She had already received quite a few callers in the days following the ball, but there were rumors the queen herself had already begun searching for Miss Francesca's perfect match. An interesting development indeed, given what the royal household must currently be going through.

Which leads to Benedict Bridgerton: A known rack and former aspiring artist who had seemed, up until very recently, completely dismissive of the ideas surrounding marriage and social statues. Yet he now stood as the only known candidate for the hand of a princess.

It was quite the narrative, and people could hardly get enough. Whistledown's veiled accusation and support ad only enhanced interest more, until it soon became difficult to tell fact from fiction.

It was a narrative of romance and intrigue, taking on as many versions as could be dreamt up by the ladies of the ton. It was the story of a commoner and a princess, fighting against all odds for true love. Or perhaps it was of an artist finding his muse, and the woman who finally changed his mind--and his heart. It was a beautiful tale of love at first sight, or perhaps a more scandalous image of moonlit meetings and stolen kisses.

The many speculations were retold and discussed over and over, each growing grander and more fanciful than the last.

But what was the truth? And where would it lead?

Many believed it would end tragically, while others hoped for a fairy tale romance with the happiest of endings.

So when it was discovered a footman had made a show of arriving at Bridgerton House bearing a royal invitation, people were shocked and delighted. However, this delight would soon turn to confusion when it was revealed that the invitation was not for Mister Benedict Bridgerton, but instead his mother and sisters.

No one was quite sure what to make of it, least of all Benedict himself.

---

Beatrice stared out the window at the sprawling gardens of Buckingham House, the tea in her hands all but forgotten as she lost herself in her thoughts once more.

A bored groan brought her back to reality, and she looked over to see her sister looking at her with a raised brow.

"Sister, how can you be so dull even when there is finally so much excitement in your life?" Charlotte asked.

"Sorry to disappoint sister, but I can be nothing but myself," Beatrice replied, taking a sip of her tea at last. She grimaced; it had gone cold.

"Clearly," Charlotte noted, "Then again, the Bee I knew would have never stood up to father the way you did."

Beatrice looked down, "I...never had reason to before."

"Yes, you have always been such a dormouse," Charlotte smiled, "Yet perhaps love has changed you--it has a way of doing so. I have experienced as much myself."

"A small change perhaps, but yes. I suppose your temperament has improved somewhat since you married," Beatrice joked, a small smirk lining her face.

Charlotte laughed, "Oh? Then I suppose I can return the sentiment: I like you far more this way, even if you are still a bore."

Beatrice smiled at her elder sister. The two had never been particularly close, but there was a fondness shared between them that was often shown through their playful ribbing. They were very different people, but sisters all the same, and while they would likely never be as close as a family like the Bridgertons, it was enough.

Charlotte looked her younger sister over, a more thoughtful expression present on her lovely face, "You are really quite taken with the man, aren't you?"

"I am," Beatrice replied, "He is...truly wonderful."

"Well then, I am happy for you. It's far past time you stood up and took what you wanted for a change."

Beatrice frowned, "But Lottie, what if father refuses to allow us to be together? He is so against the idea--"

"Oh hush now," Charlotte waved her hand dismissively as she spoke, "Father may have the final say officially, but you know it is grandmama who will ultimately make the choice. Father my be a tyrant with us, but you've seen how pathetic he becomes around her. He will inevitably do as she wishes, he just has to make a show of it first so it appears that he actually considered going against her. And, seeing as you've already managed to secure her favor, I don't see any need for worry."

"It easy to say so, but I find I cannot help but worry about it regardless," Beatrice said, a gloomy look on her face.

"It will all be fine. You two will have a frightfully dull wedding, you will have many dull children, and the rest of your life will lack any hint of excitement as you spend it with what I can only assume is an equally dull man...and you will be happy,"

Beatrice smiled, "Yes, dull indeed--as opposed to you, whose life will all be so incredibly exciting."

"Well of course," Charlotte replied with an air of playful smugness, "It is alright dear sister--we cannot all be so blessed."

The two sisters continued on in this way for some time, and Beatrice found her worries had lessened somewhat by the end of their visit. She was not sure if her sister was correct in her assumptions about the inevitability of their father's answer, but she said them with such confidence it was difficult not to believe her.

---

Benedict groaned as he paced around the room, hands on his hips as he walked in circles. Violet held a gilded envelope in her hand as she watched him.

"You should calm yourself dear, worrying will hardly help matters," she suggested.

"How can I not worry? What am I to make of...that?" he replied, gesturing to the letter in his mother's hand.

Violet sighed, "It should not trouble you so. As you may recall, the princess had already inquired about a possible invitation to tea."

"Yes, but that was before all the ton became aware of our acquaintance--should I not have heard something by now?"

"I would hardly call it an acquaintance," Eloise muttered behind her book.

Benedict shot her an annoyed glance, "All I am saying, is why is it you have received an invitation to tea when I have received nothing? Should I not have received some sort of correspondence from someone? Is that not a bad sign?"

Violet stood, putting hands on her son's shoulder comfortingly, "It is not a bad sign; if anything it is good news."

"How could this possibly be good news?" he asked, eyebrow raised.

"Well," she began, "if the crown were not at least considering their options, then surely you would have been informed right away. That they are taking their time means there is a chance they will approve of your relationship."

"Or they believe the notion so ridiculous they would hardly waste their time discussing it, thus removing any need to tell me anything at all. Perhaps their silence is their way of saying I am not even worth consideration," Benedict countered, looking gloomy.

"If that were the case, would they have allowed her highness to invite us at all? If they wanted to dispel any rumors of a courtship between the two of you, why invite your family to Buckingham House? This will certainly look to the public as a show of approval," Violet replied.

Benedict sighed, "Perhaps you are right mother. It is only the not knowing one way or the other is driving me mad!" He flung himself onto the settee dramatically. Eloise rolled her eyes at the gesture, but said nothing.

"I'm sure the girls and I will gain some insight when we see the princess tomorrow," his mother assured him. He frowned, but said not more.

---

The opulent gold carriage slowed to a stop as it arrived in front of Buckingham House, it's four passengers stepping out one by one as they took in the view. Violet Bridgerton reached out and took Francesca's arm in hers.

"Oh, isn't it marvelous?" she commented as she stared up at the impressive structure.

"It is certainly...overwhelming," Francesca replied with a nervous smile.

"Come now dears, we mustn't keep her royal highness waiting," Violet urged, making her way up the stairs with Francesca. Eloise and Kate following behind.

"You have not met the princess yet, have you Kate?" Eloise asked as they walked.

"I have not had the pleasure, no," Kate replied, "Is she truly as wonderful as Benedict claims she is?"

Eloise shrugged, "I suppose. She seemed nice enough when we spoke, but it is hard to say. She is royalty after all--they have to behave themselves, do they not?"

"From what I have heard, her father hardly conducts himself with such consideration," Kate observed.

"Well he is a man: Men can do whatever they please without fear of the consequences."

"Too true," Kate smiled as she and Eloise stepped through the doors of Buckingham House.

Beatrice stood just inside, watching as they entered. She grinned, eager to welcome them all.

"Dowager Viscountess, Viscountess Bridgerton, Miss Bridgerton, Miss Bridgerton," she greeted them formally as they lined up and curtsied before her.

"Your royal highness, thank you for the invitation," Violet said, smiling kindly at the princess.

"I was quite eager to have you all, so thank you for accepting," Beatrice replied, turning to Kate next, "And Viscountess, it is a pleasure to finally make your acquaintance. Lady Danbury has told me so much about you."

"Oh dear; only good things, I hope?" Kate asked.

Beatrice laughed, "Yes of course! And I have found Lady Danbury says nothing she does not mean, so it must all be true."

Kate smiled back at the princess.

"Now shall we then? We will certainly be more comfortable speaking in the drawing room," Beatrice suggested as she turned, leading them down the many winding halls of Buckingham House.

They arrived at their destination, taking seats around a table laid with tea and biscuits. Beatrice sat so she was facing her guests, smiling at them as a servant poured their tea.

"I must confess I am rather nervous," she admitted, "I have never hosted tea before."

"You're nervous?" Eloise repeated without thinking, "You're not sitting across from royalty."

"Eloise!" her mother hissed.

Beatrice laughed, "It's alright. She does have a point," she turned to Eloise, "I get nervous quite a lot actually; I am not so bold as some of the other members of my family. Though, it would help ease my nerves somewhat if you continued speaking freely with me. I feel less of a need to perform when the situation feels more informal."

"Oh, well I," Eloise didn't seem to know quite how to respond.

"I believe what Eloise means to say is that we certainly do not wish to make you nervous. However, it would be...improper for us to address you so casually," Kate said eloquently.

"Ah, of course," Beatrice replied. She raised a hand, and with a wave dismissed the servants standing silently against the back wall. Without a word they filed out of the room, leaving the ladies alone, "There--now there is no one to witness any lapse in decorum."

"Your royal highness," Violet began hesitantly.

"Please, call me Beatrice."

"Oh, I...I'm not sure I can do that," Violet replied honestly.

"Won't you please? And then I shall call you by your names as well," Beatrice insisted, "My social circle is...quite small at the moment. I would so like for us to be friends."

The Bridgertons were silent, their social training at odds with their desire to adhere to her wishes.

"Well, if you insist," Eloise said with a shrug. Her family looked at her with surprise, but with one of them in agreement, it seemed easier for the rest to follow suite.

"Lovely!" Beatrice replied happily, "Now, perhaps we should drink our tea--I would hate for it to go cold."

The ladies secured a cup of tea, each taking small sips as they looked at one another. A silence fell over the room as they waited for someone to say something. The Bridgertons had expected Beatrice to go on, but she seemed unsure of what she should say.

"Oh enough!" Eloise finally spoke, sitting her tea aside rather forcefully, "Will you be telling us about what is going on with Benedict or not?" Everyone looked at her in stunned silence. Quickly realizing she had all but yelled at a princess, she softly add, "If you are so inclined....Beatrice."

Her mother moved to scold her once again, but Beatrice spoke before she could begin.

"Ah yes...I suppose you all must be quite curious," Beatrice fidgeted in her seat, "How much has Benedict told you exactly?"

"Everything," Eloise answered bluntly.

"I see...so you are aware we are more acquainted than we may have let on?"

"Indeed," Kate replied.

Beatrice sighed, "Then there is little else I can tell you. For my part, I can say the matter has been discussed with her majesty and my father, but he has not yet made his decision. I expect we shall hear soon enough, but I truly do not know what his answer will be."

"I see," Violet said, a hint of disappointment in her voice, "We had hoped for better news, though I suppose it is not nothing. That the matter is being considered at all is something with which to be thankful."

"My sister believes it will all work out, since grandmama has made her stance known to my father. He is...not known for defying my grandmother's wishes. Father is quite adamantly against the relationship, but with my grandmother's support it will be far more difficult for him to disallow it."

"Her majesty supports you?" Violet asked in surprise.

"Yes, though I'm not sure what motives she may have for doing so."

"Well whatever her reasons, if you have the queen's blessing then surely there is nothing to worry about," Kate reassured her.

Beatrice smiled, "Yes, I truly hope so."

---

The rest of the afternoon was spend speaking about less serious subjects. Beatrice found it became easier to relax as the time passed. The Bridgertons clearly felt the same, each of them losing a layer of the rigidity they had started with. Francesca even joined the conversation once the topic shifted to music.

Beatrice showed them the music room as promised, though there was little time left for playing. She promised Francesca another invitation soon, and gifted her some sheet music as an apology. They also made a quick stop in the library, where Eloise found more than a few books that caught her eye. Beatrice would have allowed her to take them all, but the stack was quite high in the end. instead, Eloise chose only two, and agreed to another invitation so she may trade them out for more.

As the Bridgertons made their way to the foyer, Violet rather discreetly handed Beatrice an envelope containing a letter. Beatrice seemed surprised, before smiling shyly and presenting her own hidden letter in return.

Farewells were exchanged, and soon the Bridgertons were on their way home. Beatrice watched them from the window, her thumb rubbing against the soft paper in her hand. She had enjoyed her time with them immensely, but it had only made her miss Benedict more.

She desperately hoped she would see him again soon.

----------

Tags: @empressnatsume @sarahskywalker-amidala @may-and-lay @asterizee @g4ns3y @bubblegumcat229 @mhmoony @mmmunson @iamcailin08

[youremyheaven]

Beauty & the Beast: The Path of Venus (Vedic Astrology Analysis) 🌸🔥

Beauty & the Beast is essentially a "bad boy meets good girl" esque story, although that is oversimplifying things.

Love is a transformative tool and it is true love that lets both individuals transform. the Beast turns into a prince and Beauty understands the true nature of beauty, which is not shallow or superficial.

the reason, beauty is said to be in the eye of the beholder is that, when you look at someone or something with love, it becomes beautiful to you. Their character and essence transcend their physical form; beauty becomes a sentiment that is deeply felt; its profound and moving, like the beauty of nature or of ancient monuments; its beauty that is beyond the mundane; such as perfectly symmetrical features or adhering to every "trend".

Yun Hyongkeun, the esteemed artist once said, "True sorrow is connected to true beauty"

He had Purvashada Moon and Venus in UBP (Venus exalts in the sign of Pisces)

Here's an excerpt from an interview:

“What is a beautiful thing? It’s associated with the humanity’s inner world. To live most beautifully means to survive after experiencing extreme suffering and hardship,” Yun said. 

imo, this is a very Venusian sentiment; Claire Nakti in her video had mentioned how Venusians are "externally splendorous but internally corrosive"

this is to say that these natives create beauty, are drawn to beauty and perhaps are physically beautiful but more often than not, it does not come from a place of ease or comfort. just like how the beautiful lotus blooms in the mud, Venusians create beauty in the midst of chaos and ugliness.

Fun fact: Namjoon has a song called Yun dedicated to the artist which paraphrases this sentiment as "true beauty is true sadness". Namjoon himself has Purvaphalguni sun so it makes sense why he feels connected to this sentiment.

something that is truly beautiful affects us deeply. be it certain people or certain places, it almost makes us melancholy. now why does beauty make us sad?

innately, we understand that beauty, like life, is ephemeral and being in the presence of it, triggers our own sense of life/time passing and mortality. everything and everyone one must die; including the beautiful things and its almost painful to accept that.

now we must first understand that there is nothing shallow or superficial about beauty. Belle does not love the Beast DESPITE his ugliness but perhaps because of it. she finds him intriguing, his character, and his essence all appeal to her. if she were repulsed by him truly, she would not have wanted to marry him. although she was put off by him initially, she warmed to him after that, if that weren't the case, this story wouldn't progress the way it does.

in Claire Nakti's video about Venusian men, she mentioned how Venus's influence gives these men "true masculinity" but they're also often not considered conventionally physically attractive. She cited Pete Davidson & Travis Scott as examples and how what's appealing/sexy/magnetic about them has to do with how they carry themselves, their personality, their vibe, etc

so, we understand that Beauty & the Beast is not about a young woman who in her kindness and generosity, agrees to marry a Beast; she is attracted to him; but what makes him attractive to her is his essence, his nature etc

Now that we've established that, let's look at the story of Psyche & Eros; there are many parallels between this tale from Greek mythology and Beauty & the Beast

like all tales, this too, is a spiritual and philosophical allegory

i will quickly sum it up:

Psyche was a princess famed for her beauty, so much so that it made Aphrodite (Goddess of love & beauty, equivalent to Venus) jealous. She decided to send her own son, Eros (aka Cupid) to shoot Psyche with his arrows of love, to force her to fall in love with a hideous Beast. Much to her dismay, Eros himself fell in love with Psyche and decided to marry her.

now remember that Psyche is a mortal and Eros is a God. This union is not easy. back in her kingdom, people are in mourning because according to them, she's marrying a winged beast. after a while, she's with Eros at their abode, living a life of marital bliss, however, Eros can only visit her at night and she is commanded to never set her eyes on him. so she literally has no idea who or what he is.

one night after her sisters convince her that her new husband is a ghastly and terrifying beast, she decides to take a look at him. however Eros wakes up and realizes that she betrayed him and loses his trust in her and subsequently abandons her.

Psyche has to face several trials and tribulations before she can redeem herself and unite with Eros again; this time in the presence of all Gods, including Aphrodite, they get married, she ascends to the status of a Goddess and later on they have a child, Hedone, Goddess of Pleasure.

Psyche is the Greek word for "soul" or "mind", curiously, its also Greek for "butterfly" or "moth"

Eros means "love" and "desire"

Hedone means "pleasure"

Aphrodite is associated with love, lust, beauty, pleasure, passion, procreation and prosperity.

This is essentially a love story. Psyche is the personification of the soul, which innately longs to unite with the object of its desire. Like all mortals, Psyche despite finding it, does not trust it or understand it. It is only when she loses what she had, that she realizes how precious it was. Psyche must undergo a painful process of self-realization and undertake several trials in order to redeem herself and prove worthy of Eros.

Desire is the source of everything and Eros is the first god to have come into existence; he is self-formed. it is desire that got Psyche into this mess but its love that will get her out of it.

Thus, the quest for love finds its end in the union between soul/mind and love/desire; together they create pleasure (literally)

looking at it as an allegory, the trials that Psyche undertook were necessary because they led to her growth and development as a person. if you're familiar with Carl Jung, you will recognise this as the process of individuation.

Jung saw it as the process of self-realization, the discovery, and experience of meaning and purpose in life; the means by which one finds oneself and becomes who one really is. It depends upon the interplay and synthesis of opposites e.g. conscious and unconscious, personal and collective, psyche and soma, divine and human, life and death. (link to the article)

the story is one of Psyche's transformation; she leaves behind her kingdom to marry a complete stranger she has never seen and is later abandoned by him, then must strive to redeem herself and win him back. metamorphosis is synonymous with butterflies and Psyche is symbolised by butterfly wings.

so what does this story tell us? Psyche was a renowned beauty who harbored doubts that her new husband was a ghastly beast. but it is she who goes on an arduous and challenging journey to win back the man she feared was a beast, not the other way around.

the soul evolves, matures, and develops, and comes to unite with their love/desire and that creates pleasure. this is essentially a Venusian story.

Venus concerns itself with love & beauty and the story of Psyche & Eros, or its fairy-tale rendition, Beauty & the Beast both explore these themes.

in the same video, Claire also mentioned how Venusian influence often manifests as ugliness in men, but they are also said to possess "true masculinity" the kind that women deeply desire.

Venus creates elitism; Venusians attract each other but Venus being a corrosive planet means they have to prove worthy of each other's company.

the Venusian nakshatras are : Bharani, Purvaphalguni & Purvashada

also, keep in mind that Venus exalts in the sign of Pisces

its interesting that all 3 Venusian nakshatras are Ugra nakshatras that are "cruel" in nature, assigning the native qualities like fierceness, a tendency to be torturous and cruel. the gem associated with Venus is the diamond; they are beautiful stones that come into being after being subject to immensely straining conditions of heat & pressure. this is imo, very telling of the nature of Venusian natives. they endure so much suffering in order to create the beauty that others know them for.

one of the earliest screen adaptations of Beauty & the Beast is Cocteau's 1943 adaptation, in which Josette Day plays Belle.

She has Venus & Ketu in Purvaphalguni

Penelope (2006) is a gender reversed retelling of Beauty & the Beast and it stars Christina Ricci who is Purvashada moon

James McAvoy has an exalted Venus in Pisces (UBP) which is a placement signifying ultimate devotion to the lover, its interesting how in this story he's the one who must help Penelope ("the Beast") break the spell she's under. the whole thing is sooo Pisces coded ngl

Emilie de Ravin plays Belle in Once Upon A Time, she has Moon and mercury in Purvashada

Kristin Kreuk, Purvashada sun played the Belle based character in the tv series, Beauty & the Beast

in 1997's Beautician & the Beast, Fran Drescher plays a Belle inspired character. She has Ketu in Bharani

Jane Eyre is considered by many to be loosely based on Beauty & the Beast.

To begin with, Charlotte Bronte who authored Jane Eyre, was Purvaphalguni rising with an exalted Venus in Pisces (UBP)

As such we'll look at the actors who have played Lady Jane in its film & TV adaptations.

Zelah Clarke played Lady Jane in the 1983 miniseries Jane Eyre. She is Bharani moon

Ruth Wilson who played Jane Eyre in the 2006 tv series, has Purvaphalguni moon

Sussanah York who played Jane Eyre in the 1970 adaptation has Purvashada sun, Purvaphalguni moon with Ketu in Bharani

A Court of Thorns & Roses, is a highly popular fantasy novel that is a retelling of Beauty & the Beast. its author, Sarah J Maas has an exalted Venus in Revati as her amatyakaraka

Anthony Trollope’s Ayala’s Angel features a heroine who rejects the honourable Colonel Stubbs because of his appearance and ugly surname, until she is persuaded by events that he is “the real Angel of Light” she has been seeking all along.

Trollope has Ketu in Purvashada

The Tiger's Bride is a post-modern retelling of the Beauty & the Beast. its written by Angela Carter who has Sun & Moon in Bharani.

The Beast must learn to express his heart and mind to become worth loving. He has his own journey of growth, acceptance and forgiveness.

It’s a pattern echoed in many Jane Austen novels, including Pride & Prejudice in which the proud, rich Mr Darcy must reveal his true goodness to win the witty and sharp Elizabeth Bennet.

in its perhaps most famous adaptation, Liz is played by Keira Knightley who has an exalted Venus in Revati, with Mars & Rahu in Bharani

in another adaptation of the same, the Liz character is played by Aishwarya Rai who is Purvashada moon.

to an extent, Marianne's character arc in Sense & Sensibility, also by Jane Austen is very similar. she initially falls for the handsome, young and ultimately found to be shitty John Willoughby and later realises her love for & marries Colonel Brandon, who is much older and an amputee but who truly cares for & loves her.

the 2011 movie From Prada to Nada is a retelling of Sense & Sensibility. it stars Alexa PenVega as Marianne. She has Ketu in Purvaphalguni

the 2000 Indian adaptation, titled Kandukondein Kandukondein stars Aishwarya Rai in the Marianne equivalent character. She has Purvashada Moon

Conclusion:

Beauty & the Beast focuses on Belle’s awakening to the Beast’s virtue rather than the Beast experiencing a change. it is a story about the path of a Venusian woman.

it is a quintessential Venusian tale about the union of two equals. true to Venusian nature, they have to undergo several trials and tribulations before this becomes possible.

Thus when the body (the beast) unites with the soul (beauty) it creates pleasure and harmony, thereby fulfilling all the promises of Venus.

[fragmentedblade]

Can you expand more on Ratio's philosophical influences? You seem super knowledgeable!

I've been sitting on this for some time because I didn't know what prompted this message and thus I didn't know what to answer and how. I guess it may be the comment I wrote about him having a socratic but also a sophist air?

There are a lot of details in Ratio's overall design that point towards philosophical references. I want to draw attention to the fact that since this is a vague message on anon I don't really know what to focus on or what could I skip because it's information already known, so what I'm going to say is a very brief summary of many ideas, which of course makes such ideas but the shadow of an echo of themselves, so faint they almost become untrue. I fervently advise to look more deeply into any of this if something catches anyone's interest. And I also want to point out that the problem of knowing a little bit of something, even its existence, is that seeing turns to seeking, and an excess of seeing is also a blindness; what I mean by this is that I'm not sure how much of what I am going to say was intentional by the developers/writers and how much is just me suffering the blindness of seeing too much haha

However, I also want to clarify that I do think many of the things I’m going to say are present even if perhaps not intended by the writers/designers. This is due to the fact that Ratio’s main influence is platonism, and platonism is everywhere in western philosophy and in general western culture; once you see it you cannot unsee it. So perhaps I am reading too much or making correlations between things in his design that were not meant to be linked, giving a depth to the character that is probably incidental, but that I would say nonetheless exists because it pertains to a certain philosophical tradition in which the elements stem from each other. I hope this will become clearer in its development if it isn’t right now. 

Ratio has an Apollonian air. At first that and his mask made me wonder if he was going to be linked to the Mourning Actors, who alongside the Masked Fools for now remind me a lot of the Nietzschean Apollonian and Dyonisian dichotomy. This was conjecture on my side so I won't go on about this on this ask.

Ratio retains however the Apollo air. When I saw his splash art he reminded me instantly of the Belvedere Apollo, down to the strap under his chest like the sculpture has the quiver's strap. His sixth eidolon too recalls that sculpture, since it seems to be a mix of the pose in Michelangelo's David with the cloth in the Belvedere Apollo. Among other things, Apollo is a god linked to truth, medicine, archery and divination. The owl seems to be a reference to Athena, though. 

Ratio also has the laurel or bay branch on his head, which is one of Apollo's traits. Laurel on someone's head became linked to victory as well as academic and artistic merit (I know in Italy people still use it when graduating, for instance; I mean, that's where the word comes from). The fact that he has half of it is most likely due to an aesthetic choice, especially given how the character designs are pointedly asymmetric in this game; however, I think it works well with how, no matter how much he achieves and how hard he tries, Ratio is never gazed upon by Nous nor accepted by the Genius Society with the frustration, bitterness and questioning that brings both himself and others.

This last point, being ignored by something akin to a divinity, works also with his Apollonian air, I'd say. Given his Apollo look, his snake-like pupils made me think instantly of Delphi. Delphi was where a temple to Apollo was (linked to a mythological snake, and snakes thus became associated with Apollo in imagery), and it was famous for its prophecies. Socrates (the master of Plato and main figure in his dialogues) is said to have started the habit of questioning he is mostly famous for because a friend of his went to the temple in Delphi and was told by the Oracle that the wisest man in Athens was Socrates. Socrates was perplexed by this because he knew nothing, and started posing questions to supposedly erudite people about the matters about which they were experts, only to come out of that feeling unsatisfied with the answers. Thus, Socrates thought the Oracle may be right after all, but he was only the wisest man because he at least knew that he knew nothing. 

This works very well with Ratio because Socrates starts the journey by being distinguished among his peers, gazed upon, by a god (Apollo was supposed to possess the Pythia, or at the very least the prophetic power came from him), while Ratio never gets that recognition, and seems resigned to that already ("If this day I have not gained the recognition of Nous, it stands to reason that I never will at any point in the future" and "One day, I received a letter from the Interastral Peace Corporation (...). I could tell the solemnity of the invitation, so I excitedly passed it on to Mr. Ratio. Yet, he said nothing. I could sense his heavy silence even through the headgear. He then politely asked me to leave. The moment I closed the door, I heard a grim sigh followed by a self-deprecating laughter... Perhaps he realized he would never be accepted into the Genius Society..."). The mix of arrogance and humbleness, although enhanced in Ratio in a comical degree, is already somewhat present I would argue in the way Socrates talks in Plato's dialogues. Arrogance was also a trait Heraclitus, the author of the line cited in the name of his banner (“Panta rhei”), was famous to have.

So Ratio takes the position at the IPC. The Intelligentsia Guild is "often seen as a vendor of knowledge", and is looked down upon by the Genius Society. This is where I think the philosopher/sophist dichotomy comes in. Sophists were teachers, and were paid. They also were known to use rhetoric to convince (I would say there's a reference to this in one of Ratio's daily messages). In the political landscape of Athens, they were very useful for young men interested in politics. Some sophists became quite rich and famous. Usually philosophers, who didn't receive any money and did everything for the "love of knowledge" itself, looked down on them. At least in the texts of Plato that's often the case, although some sophists are portrayed under a better light even there; btw many of the things I've been saying come from Plato, but since this is an intricate subject on its own that isn’t directly pertinent to the ask I won't dwell on it right now.

Education in ancient Greece consisted of both intellectual and physical training. Intellectual education included music, poetry, mathematics, astronomy,... Physical fitness was held as something very important in a young man's curriculum as well. I think this is where the fanservicey choice of making Ratio so fit and pretty comes from. And I say “pretty” because beauty too is an important concept for Plato, and ancient Greece in general. It is also part of what linked the need of a young man to develop himself both intellectually and physically. Beauty is linked to harmony and order, both on an individual basis and cosmologically, often in some philosophical trends to a mathematical level; pythagoreanism has a lot of this.

Indeed I think pythagoreanism has to do somewhat with Ratio's design, considering his link to mathematics and geometry, and given his name ("Ratio" made me think of the golden ratio and in general pythagorean ratios even before it made me think of "reason" tbh), but in general the main philosophical reference in Ratio seems to be Plato, who was influenced greatly by pythagoreanism; this is one of the perhaps unintended indirect yet present links I mentioned at the beginning.

Platonism is very present in many ways in Ratio. It's noticeable even in his visual design, with how buff and handsome he is, arguably the references to Apollo and Athena, the geometry imagery, and even the sculptures he creates with his technique, but the influence is seen throughout his entire character, story, dialogue lines,... Part IV of Ratio’s character story, the way he talks with Roseth and what he says, has in my opinion an echo of platonic dialogues, as does his line “To spread knowledge, we must first make people realize their folly” recall Socrates. In the Trailblaze mission the main character had to argue for their innocence, which to me brought to mind the Apology of Socrates. On the other hand, the way this was done was very reminiscent of the socratic method, both in the discussion and counterargument mechanic of the game as, and especially so, in the use of memory. The main character had already the knowledge they seeked, yet they had forgotten about it, and had to retrieve it through memory guided by the intense questioning of Ratio; this, if applied to the research of a more essential knowledge instead of circumstantial, is the core of Socrates' maieutics. Maieutics is "midwifery". Socrates called by that word his method because he thought he was helping give birth to truths or knowledge that were already present in people's minds, if forgotten. It's what Ratio's skill, "intellectual midwifery", references. 

The fact that Socrates' method, the "intellectual midwifery" to put it in in HSR terms, works in platonic philosophy is because it is taken that there are eternal truths, something Ratio believes as well (“The beauty of truth is that it never changes, even when no one understands it. Well, that's true for me, at least”). This has to do with what is called the theory of Forms or the theory of Ideas. The world that we see is but the shadow of that other conceptual abstract world, of which we have but forgotten memories and that we can access only with the mind's eye. Our soul once saw/was part of that other world, which is why it can remember it. Plato was influenced by the pythagorean view of a sort of journey or reincarnation of the soul after dying, to put it some way. This is also extensive, it has to do with orphism, is at the core of a lot of philosophical and theological western traditions, and thus I will say only this, even though it feels very close-to-fake simplistic haha. To summarise, there’s the other abstract perfect world of which everything in this world participates from and is but the shadow of (everything beautiful participates on the Idea of Beauty, eternal and inextinguishable, but it’s never as perfect as that Idea, only but its echo). The idea that the world is but the shadow of the other world is present in Ratio's English line when he is ko-ed, "Mere flesh…" (in Chinese, though, if I’ve understood correctly he says “«Mediocre»… hah”, which is very different if still lore-heavy). This of course implies a strong ontological dualism. 

In this sense it is extremely interesting to me that Ratio’s banner is named “Panta rhei”, because Heraclitus is the epitome of the defender that all things were in constant change yet all things are One, the process of “becoming”, the constant struggle, at the core itself of reality (this too is harmony). He was pointedly monist, and is often contrasted to Parmenides, who spoke of eternal unchanging truths and beings. Both are cornerstones in the development of western philosophy and influenced Plato, but the choice calls my attention. In the Japanese wiki the line was linked/took to the buddhist concept of impermanence; while not necessarily related to that, this wiki suggestion made me wonder whether the choice of making “Panta rhei” the name of Ratio’s banner was done to further enhance another aspect of the many parallels between him and Ruan Mei, who also talks about life as something seemingly diverse and changing, hopes to obtain permanence, and talks about a something that transcends the multiple faces of life and that unifies them all (“Life is countless and varied in form. I firmly believe in that. Its beauty is like a myriad of flowers, and I want to pluck the one that never wilts”; “I wish to discover "the true essence of life," something that all individuals possess unknowingly, whether it is the materialism of their existence or an unknown entity beyond corporeal realms”; “The core of all existence is unity”). Even beyond that, in the context of everything else Ratio has going on, the mention of Heraclitus brings very intriguing food for thought to the table; yet I think this may be another instance of things that are, yet were most likely not meant by the writers.

Moving on, I’ll give a quick comment on the more explicit philosophical references we can find in Ratio’s traces, attacks and voicelines, and will dwell a bit only when I think they work well with the subjects and concepts I already commented Ratio plays with, otherwise this response will be eternal.

Summation (trace): in Chinese this is more clearly linked to the inductive reasoning, which in context it is obvious this is what this trace references; I don’t know why they chose to translate it this way. It is a method of reasoning that comes from the observation of particularities to generalisation, hence “summation”. It works well with Ratio causing more damage per debuff, and with the references to empiricism in Ratio’s attacks. The consequences in inductive reasoning are not truly ensured by the premises (the typical example is how you can’t ensure that all ravens are black by as many black ravens as you observe). 

Inference (trace): this baffled me because again it is more clear in Chinese that this is referencing deductive reasoning, but every language translates “inference”, whereas in the “deduction” trace the characters are exactly the same as the ones in the Chinese wiki for “inference”, but every language translates “deduction”. I don’t know what’s happening here, I wish I knew Chinese and found this less confusing, but at least both words are present in his traces. Deductive reasoning is the one that goes from premises to conclusion. It is heavily linked to logic and it doesn’t necessarily require empiric knowledge.

Deduction (trace): this is what is called “inference” apparently in Chinese (if someone knows about this I would love to know what is happening in Chinese in these two traces). Inferences are, well, the process of reaching conclusions. It can be either through deduction or induction (or abduction, some would argue, but that’s another can of worms).

Mind is might (basic attack): in latin this is “scientia potentia est”, and while at this point the line is very detached from its context, initially it was linked to Bacon and Hobbes. I honestly think this is just a very convenient name for an attack of a character following a philosophy/sciences/knowledge thematic.

Intellectual midwifery (skill): Socrates, and platonism. I talked about this before.

Syllogistic paradox (ultimate): Syllogistic paradoxes were one of my favourite things when I was studying. Syllogisms are a form of logic reasoning, which consist of two premises and one conclusion. Though the premises may be true, and though the reasoning may be sensible, at times contradictory or illogical conclusions may be reached. This is a syllogistic paradox. Why this happens is because of a myriad of reasons, like the differences between natural and logical language, or the development of theories (the paradoxes in set theory are among my favourite things ever). I personally like to draw a strong distinction between paradoxes and contradictions. Anyway, I have a lot to say about this haha In general, this is what the name of the ultimate is referencing. It works well with Ratio’s traces. It also goes well with some of the other subjects present in his characterisation, like platonism, Descartes and such; there are a lot of paradoxes that arise from many of the theories that play with such topics. I think reading Alice in Wonderland’s apparent madness through the lenses of logic makes us see that most of those incongruences are actually pretty logical; many of them iirc are syllogistic paradoxes. Carroll was a logician. I mention this because this, as well as many other ideas present in Ratio, work extremely well with Penacony.

Cogito, ergo sum (talent): this is a line by Descartes, a rationalist. This too is something that fits Penacony incredibly well. Descartes starts doubting knowledge, ends up questioning pretty much everything, establishes inspired by mathematics and logic a method of acquiring the truth, and in the research of true knowledge he starts doubting everything with a methodical doubt to be able to tell what knowledge stands after being hit by doubt, and why, and try to reconstruct knowledge from there. Ratio’s lines about “seeking answers with a negative hypothesis in mind”, “When one is immersed in academic research, scepticism comes more naturally than belief” or “Pursuit tinged with negativity is still pursuit, and it is capable of leading us to the right conclusion” reminded me of Descartes’ method. One of the steps in the process is doubting one’s own existence, but since I (pardon the “I”, but the first person is very important in Descartes) doubt, then I think, and since I think, then I exist; cogito, ergo sum. This is closely related to platonism in some senses, and while Descartes’ philosophy comes in part from a criticism of scholasticism, it still has ties to it, but Descartes was a massive breakthrough in the history of Philosophy. I also won't dwell on this, but this is fascinating imo haha 

Anyway, Descartes’ doubt about the existence of reality, of the world, is heavily linked to dreams, because in dreams we believe things are real but are not, so equally we could be at every moment in a dream and not be aware of that; only the existence of oneself is clear of this doubt (Zhuangzi’s text about the butterfly plays with this too; I comment this because butterflies have appeared in Penacony and the Zhuangzi’s text seems to play in an interesting way with the concept of “I”, taking it a different route than Descartes, which is a very intriguing idea but I don’t know much of Chinese philosophy at all). The concept of simulated realities, Matrix-like settings and such, all are strongly linked to this conception of Descartes, even though similar things existed previously (such as Plato’s allegory of the cave), and this works very well with Penacony again. Obviously, Descartes’ theory is strongly dualist, and it’s even established a body-mind dualism. The idea of the ghost in the shell also comes in great part from Descartes. Descartes’ view of the body was not too unlike that of a machine. 

This was in a time in which clockwork and automatons were quickly advancing and fascinating people. Physic theories started to look (even more) like clockwork, with the universe as clockwork and god as a watchmaker that put it into place and then let it run its perfect course, needing or not (depending on the theory) adjustments from the watchmaker from time to time. I said before that harmony was linked to both the cosmos and the body, with the body in part being a reflection of the cosmos, and even linked to it by the harmony of the spheres. This new way of approaching the cosmological and human issues and developing Physics still has echoes of that. Newton, who is referenced in one of Ratio’s idle animations, is one of the epitomes of this concept of the universe as clockwork. Again, I don’t know how much they’ll do with these ideas nor even if they were written on purpose, but it all works so well with Penacony it would be a pity if they did nothing with this.

Another thing I want to note about Descartes is that besides mentally detaching himself from everything while doubting in his deconstruction and construction of knowledge, seeking undoubtable truths, he famously did so physically as well for some time when he first started thinking about the matters in his Discourse on the Method one night: “having no diverting company and fortunately also no cares or emotional turmoil to trouble me”, while he “spent the whole day shut up in a small room heated by a stove, in which I could converse with my own thoughts at leisure”. This reminded me a lot of Ratio’s head and how he uses it: “with the headpiece on, isolated from my five senses, i can think without interference”, “he put on a headgear to keep away all external distractions and completely focus on thinking? Who else in the world could manage that?”.

Mold of idolatry (technique): this links mainly again to the theory of Forms of Plato, with that representation of something else that is what is real. The name of the technique and what it does works well also with the idea of idolatry, especially of idolatry of false gods, idols or even falsehood in general, and how Ratio criticises people’s blind infatuation with geniuses. It also reminds me of Nietzsche’s Twilight of the Idols, or, How to Philosophise with a Hammer. Among other things, Nietzsche heavily criticises platonism and platonic philosophy, and mostly all western philosophers (he has kind words for Heraclitus, for instance). 

Wiseman’s folly (ultimate’s effect): the idea that knowledge or beholding the truth brings to something similar to madness or ends up leading to foolishness is a very common one. Many of the Ancient Greece philosophers were said to have been extravagant. Diogenes the Cynic and Heraclitus were two such examples. Democritus was said to have plucked out his own eyes. Empedocles is said to have killed himself in a volcano. There’s Nietzsche, Georg Cantor, Kurt Gödel. It is the idea of the wise ending up being very much like the fool, but also the idea of the wise ending up losing sight of basic truths I believe, in that alienation from the world.

Know thyself (eidolon): this is what was inscribed in the temple of Apollo in Delphi I spoke of before. This is linked to Heraclitus, Socrates, Plato and platonism, of course. I think when it comes to Ratio that’s it, really. But this maxime has had a lot of implications and interpretations in different contexts and at different times. It could be seen as just a salutation, recommending temperance, the idea of knowing oneself and one’s limitations as key to succeed when approaching subjects or problems, the first step of getting to know anything at all, humans and the world being closely linked and even reflection of god so studying one helps studying the other, etc.

Vincit Omnia Veritas (eidolon): the translator says this means “eternal truth” in Chinese, which would play way better with the philosophical ideas and concepts present in Ratio while still playing with his name, “Veritas”. I won’t dwell on this because I’ve already talked about the link between eternal truths and Ratio a lot, and besides I can’t even confirm this is the true meaning because I don’t know Chinese.

Eidolon “The divine is in the details” seems to be a reference to a Chinese idiom that comes from a book. I don’t know if it has greater significance, but if anyone knows I am all ears. The other eidolons obviously work with Ratio, but I don’t see obvious philosophical influences so I’m skipping them.

Esse est percipi (ultimate line): “To be is to be perceived”. This is a line by Berkeley and linked to his philosophy. He criticises both dualism and materialism. The core idea is that the world’s existence is entirely dependent on the mind, that things don’t exist unless they are perceived and thought. His justification for one’s own existence seems to come from this perception, as Descartes’ came from thinking: “I do nevertheless know that I, who am a spirit or thinking substance, exist as certainly as I know my ideas exist”. Parmenides has a similar idea in his poem. I don’t think this was intended to be read too much into when it comes to Ratio, but I think it fits nicely with the other topics he has going on, and the dichotomy they often entail. It also works well with Ratio’s plaster head, with how he says “I don't have to set eyes on stupid people. Of course, they don't want to see me either”, with how he uses it to go unnoticed or unrecognised in both Herta’s Space Station and Penacony, and I think it could be overread or taken to more exaggerated levels in a juicy manner reading this under the notion of nothingness, mediocrity and being disregarded by Nous. 

One of the listed researched achievements of Ratio is in the field of epistemology. Epistemology is the field that studies knowledge. Although studied in particular at times, it is of course often linked to ontological conceptions; all the philosophical theories I’ve stated carry with them epistemological implications as well as ontological. In one of Ratio’s character stories there’s a mention to epistemic logic which is, speaking broadly, a logical approach to the analysis of knowledge. 

Another one of his listed achievements is in natural theology, which is the study of god through reason and logic instead of things such as transcendental experiences or revelations. This is very common in philosophy in general. It often has to do as well with the world as a harmonious whole, god as watchmaker/the universe as clockwork, and teleology. I will mention Newton and Darwin here because Newton is referenced in Ratio’s idle animation, and Darwin because he broke up with the teleological tradition when it came to the world. Ratio’s work is named Aeons: A Natural Phenomenon, and the title and its description, how its “Aeon non-theism”, makes it seem to me like he wrote of Aeons as if they were just another form of life or something that pertains to nature itself and not detached from it, which although very different from Darwin’s ideas did remind me of how he dismissed teleology in nature. This also clearly links, in my opinion, to Ruan Mei.

Other than that I also want to note Ratio’s final speech to Screwllum about inspiring doubt and scepticism when it comes to established ideas and geniuses. It reminded me of Socrates, how he was said to have “perverted” youth inspiring all that questioning among other things. It reminded me of Nietzsche, how he fervently encouraged individuals to use critical thinking, question dogmas and preconceived ideas they could have, and come up with their own conclusions that does not mean necessarily negating absolutely everything they held true before the questioning (this exchange between Screwllum and Ratio: “Screwllum:  «You wish to uproot the researchers' blind worship of geniuses».  Dr. Ratio: «I am only laying out my questions».”). It also pointedly reminded me of Kant's “Sapere aude!”, “Dare to know!”,  and his text What Is Enlightenment?, in which among other things Kant talks about the lack of courage, not of intellect, of people to think for themselves, how humanity lives in a constant immaturity or adolescence of the mind, and urges them to get out of that state, to dare to know. Kant was greatly influenced by rationalism but said to have awaken from the rationalist slumber thanks to empiricism; the plays on rationalism and empiricism, deduction and induction, and the presence of idealism in the rest of Ratio’s writing as well as this fervent push for people to snap out of their lack of criticism and dare to think for themselves are what made me think of Kant here.

There’s more things to talk about Ratio, like his view on mediocrity and geniuses, and how that view is constructed and described in traces through fragments in his lore, the character stories, snippets of conversations; how he seems to be so similar in character and drive to geniuses, but never accepted as one, and how he is regarded as very different and eccentric by “normal” people, even in the Guild. In short, how he is detached from both the “normal” people and geniuses, like suspended between both states without being either completely, and how it makes so much sense in this context that he tries to breach the rift between both. I couldn’t help but mention this, to avoid forgetting this aspect of his characterisation in the future, but I won’t dwell on this because it isn’t really directly linked to any philosophical influence that I can think of.

I think this is it. Hopefully I didn’t forget anything important. And I’m sorry it is so long, but I really tried to summarise. As I said, I may well be reading too much into some of these things, but I also think that since Ratio plays with many of the core authors and concepts in the history of western philosophy, some things I expect were not intended by the writers still are present somewhat, because mentioning this or that thing alongside this or that other thing ends up having implications if you know a bit of the context. 

I hope this was clear enough. However, I can try to explain myself better or further if I wasn’t. Philosophy may look unapproachable and dry at times at first, but it really isn't, it just needs one to get accustomed to some basic terminology, and it becomes fascinating and beautiful, and lifechanging haha. I would love it if Ratio is making people get a little bit more invested or interested in it, or open to explore it. The Stanford Encyclopedia of Philosophy is a good place to check the main ideas, texts and authors that may spike someone’s interest if anyone wants to read further about anything I've said or compare sources, but tbh I think even Wikipedia can be useful with getting a first feel of some basic ideas to know what to look for.  And although I am not an authority or the most trustworthy source at all, I will help as best as I can if someone reading this has any further question. I recommend reading the texts firsthand though, with historical context in mind and footnotes perhaps if possible, and making one's own mind about everything.

[invisibleicewands]

WORTH A LOOK?: *****

WHEN?: Saturday 24 February, opens 6 March and runs through 11 May 2024 RUNTIME: 160 minutes (including a 20-minute interval)

A grieving son wraps his dying miner father in his arms, apologises for everything he could have done better to look after him and vows to make good by helping others.

The son is Aneurin ‘Nye’ Bevan, the Labour politician and founder of the National Health Service on 5 July 1945, and Nye is the warts-and-all story of the man who would improve the health of countless millions of us and how he did it.

Nye died almost 15 years to the day he founded the NHS from stomach cancer and the conceit here is that he’s in hospital at the end of his life having a fever dream and wanders, pink pyjama-clad, through moments of importance.

Reading the article by former Labour leader Neil Kinnock in the programme about Bevan we discover his education was cut short at 13 when he followed his miner father down the pits to work in 1910.

In an almost reverse of film Dead Poets Society we meet the bullying schoolteacher who would cane a young Nye because of his speech impediment, the classmates who would protect him and the very Manic Street Preachers-like realisation that free libraries could give him the power to overcome his stammer by finding alternative words to those he could not utter.

Riffing on Dennis Potter’s Singing Detective Sheen’s Nye even sings Judy Garland’s Get Happy at 1 point as he and his miner colleagues use the time unemployment has afforded them to bone up on the way their home town of Tredegar in Wales is run and get themselves elected onto the boards of the bodies involved to finally do good by its people.

From our 4th row seats we see director Rufus Norris, also outgoing artistic director and chief executive of the National Theatre, tread the boards at the beginning of this 1st preview to remind us as such there might have to be a pause in proceedings because of the freshness of the material but perhaps 1 of the reasons its star Sheen is beaming so much during the curtain call (see picture below) is because it all actually went so well.

The action is staged as if in a hospital ward for much of the time with beds on wheels used to great effect and curtains around beds featuring prominently and at 1 point, rather brilliantly, lowering to become rows of seats in Parliament.

Tony Jayawardena (Marjorie Prime, Menier) is quite brilliant as Nye’s nemesis Winston Churchill, a man who succeeds in doing what Labour were unable to by uniting all classes in opposition to world war.

Sharon Small (Good, Harold Pinter Theatre) is more than a match for a revelatory performance by Sheen, at 1 point seemingly channelling the boyish enthusiasm of a young Declan Donnelly from Ant and Dec, as she explains the sacrifices she made to support her husband.

There’s a lot of injustice to make the audience angry here and there’s some terrific political theatre in London at the moment to both challenge the mind and make the heart soar – An Enemy Of The People and Standing At The Sky’s Edge for example.

Like the outstanding Dear England, this is an example of a venue at the top of its game doing exactly what it should be doing in offering insight into stories of those who have shaped our country and influenced the people we have become.

---------

Another one who sang "Get Happy":

[elderflowergin]

blood free v secret forest, a quick and dirty comparison:-

As someone who fell for Kdrama through Stranger, i loved it because it appeared seamless, grounded and weaved several systems and levels of privilege very elegantly. Most of all it seemed morally urgent, even if it was at its core a detective mystery. (Which, to be fair, Blood Free is as well.)

Secret Forest’s first success was that it held nuance for everyone in the middle of the road; LSY afforded so much thoughtful shading to those men. I often think they will never look as beautiful as they do on SF, and that’s only partly because of whoever did the lighting etc, but they’re not Kdrama glossy perfect; they’re real people trying to reckon with themselves and the moral calculus they have agreed to, and their dignity comes from the reckoning. Lee Chang-joon, Kang Won-chul, Lee Yeon-jae, even Seo Dong-jae for that matter, all have that advantage. LSY managed this for Jung Sung-il in the scant few minutes of screen time he had.

The second success was Cho Seung-woo and Bae Doona. If Secret Forest was a universe they were its gravitational field; it was their fierce sense of honour and morality that drives both seasons. And their moral decency is hard-won; it is tested constantly, and it’s burnished at each opportunity, which is why they are respected. It is a dream that people like that can influence or impact those around them, but you don’t question that they do, by the end of each season, and that’s the victory of writing, casting and the charisma of both leads.

That’s why that funeral scene in season 1 is so important (to me); it shows the gravity shifting. The prosecutors rely on their forest of secrets to keep the centre together, but Hwang Si-mok demonstrates how untenable this has become, how the roots must be pulled out so the weeds die; so new healthy things can grow. The chaebols are at the periphery, and they continue to be there because, most audaciously of all, they don’t matter if enough people shift their moral calculus. I think this gravitational pull happens to Lee Chang-joon in season 1 thanks to Hwang Si-mok and it happens to Choi Bit in season 2 thanks to Han Yeo-jin. They are easily some of the most powerful parts of the show.

On the other hand, we have Blood Free. I’m not sure who the moral gravitational field of this show is meant to be. Maybe it’s Yun Ja-yu and/or Woo Chae-woon. Maybe it’s Lee Mu-saeng. Maybe it’s about the ethical dilemma of experimentation and whether that’s a worthwhile price to pay for the scientific advancements in cultured meat and seafood. Perhaps we need more time to really see the middle of the road characters, but four episodes in there’s not much to go on: there’s Lee Mu-saeng, there’s Queen Dowager as a VP, here’s Jeon Seok-ho. There are three chaebols, all of whom seem like one-note characters to me. (Why ask a talented sketch artist to produce cartoons like these? Unless they’re not, but nothing seems to suggest otherwise.)

The most interesting insight from episode 4 was about Yun Jayu - when offered 72 trillion won for her company, she actually considers it because it means she doesn’t have to face investors and can focus on research. She has influence and money but these are means to an end, for her. I wish we could see more of that, and not necessarily through exposition alone.

When she gives deft, cool answers to reporters, did that come naturally to her or did she work at it? Is she the face of the company because she hated it a little less than Lee Mu-saeng did? If so, why? What comparative advantage did they determine she had? When she wears Chanel tweed skirts and smiles her way through presentations, is that a natural extension of her work or is that a mask she wears? Give me process, guys! Give us the backstory, the way the markets work, the environment for cutting-edge bio research in Korea, the reaction of Big Meat, the interplay of new rich and old rich, some indication of her actual influence (which must be considerably more than what we see on the show, although what little we see, while uncomfortable, is frankly not that inconceivable in a world where you’re constantly connected.) I am so interested in her, and yet I feel I am made to watch the story of her reacting to chaebols and to the mystery of corporate sabotage rather than her being the fulcrum of her own universe. And at no point does the mystery seem morally urgent to me, and it’s because 1) why does it matter if all this is is a giant M&A negotiation 2) why should we care if it doesn’t feel real to us? So what if there’s sabotage? Why on earth isn’t this company guarded like fucking Fort Knox? Why is this company ostensibly so influential, so powerful and yet capable of unusually amateurish errors that are the centre of the show so far and not on the periphery of it? Where is the moral quandary that is meant to grab us by the throat?

Is it a question of the writing? Have her interests shifted and did she want to do a show without having to do too much character work? If anyone has earned a vibes-only moment it’s Lee Soo-yeon, and I respect that for her. I hope the direction isn’t stifling the writing, because that means there is an arresting, politically trenchant drama underneath this dry procedural, and that’s upsetting to consider. We still have a ways to go and I think there is potential, but I have to remind myself not to expect something like SF, that maybe you can’t bottle that formula. That it’s the gold standard for a reason. But honestly, Disney, in the words of TikTok star imo_unusual, you’ve made this show like God was dozing off when the angels were working, now RELEASE US (and LSY writernim)

[panicroomsammy]

Analysis of s15e6 because one of my mutuals wanted polisci analysis of Supernatural and the nuclear family and this episode crawled inside my brain.

The b plot of the episode is Cass investigating a series of deaths in a small town he’s been hiding out in since his fight with Dean. He goes to the sheriff’s office and the sheriff is dismissive, telling Cass that since it is a small town people don’t go missing there, if they do it’s never locals, and that the woman who is complaining about her son going missing complains about there being a Fourth of July parade as a way of discrediting her. There is so much to unpack in this scene. That locals never go missing and it is always outsiders who go missing has a sinister undertone with the implication that the town takes care of their own, perhaps to the extent of killing meddling outsiders. The sheriff Others tourists, not caring if they die and implying that they deserve it while there is a subtextual implication that the townspeople or the sheriff may be active participants in purging themselves of such Others. When he attempts to discredit the mother of the missing boy by saying that she complains about the Fourth of July parade, he attempts to Other her to Cass by saying “look, she isn’t one of us she criticizes patriotism/the nation, so she must be an outsider.” This was simultaneously so extremely on the nose and blink and you’ll miss it. The woman has anti-imperial/anti-colonial political views, so we shouldn’t care if her child dies. It is later revealed that the sheriff is the monster and Cass calls him out, saying “It’s always you selfish little men in positions of authority. You take what you want, who you want. You believe your power will protect you.” This is, again, shockingly on the nose. Supernatural rarely makes those in positions of authority the monsters. I can recall of the top of my head dozens of episodes where the sheriff helps and no other episodes where the sheriff is unambiguously the monster. Cass’ use of the word “always” applies more to real life than to the world within the show. It is also important to note that the victims who Cass helps are nonwhite and moved to the town from a city. These factors combined make the episode almost seem to serve as a critique of social institutions such as the police, except for two things, the first being that by making the sheriff a literal monster they Other him from his community, displacing the blame for real life corruption onto him and away from his human counterparts. Even when someone inside the community is the monster, they are still a monster rather than a person. And on the rare occasion that the “monster” is a person they are poor and rural (The Benders, Family Remains) rather than a wealthy white man in a position of power.

The second is the a plot of the episode. Sam is captured by a mother witch and her daughter who are working to bring the other daughter back to life. The younger sister tells Sam that her older sister tormented her all her life, and Sam offers to help her escape her family, but instead of taking him up on this she chooses to stay devoted to them and dies with them. This is a much more conventional Supernatural episode plot: the choice of the nuclear family over all else - even when family is hell.

The show does not have a political message - it was created to be an artistic expression of feelings - both positive and negative - about family and to be a story about stories. The form that those stories take - urban legends that revolve around suburban fears about the nuclear family - make it fascinating to analyze, but for an understanding of subconscious influences upon the writers that in turn recreate those biases in viewers, not for a purposeful political message.

[paragonrobits]

So the primary parallels between Marshall Lee and the Star’s stories, going back to back, seems to say two things:

The business world Ms Abadeer wants her son to go in is Hell; an evil place of cutthroat decisions where all that matters is what you want and getting it no matter the moral compromises you make. It’s the same as the Nightosphere, and a fairly direct translation from Ooo’s fantastical nature to the mundane world. It seems to be a universal constant; Abadeer wants the child who left them to take up the family business, even though they very much don’t want to and find the concept repellant.

So we see the Star, Marceline at her worst; a childish monster that murders without hesitation or concern, without any empathy for anyone but herself and the father figure she adores, who forces her minions to destroy themselves out of fear. There is nothing of the heroine that saved Ooo’s humans from vampire threats even as they ran away from her; this isn’t a person who wants to protect anyone.

She has very much entered the family business.

But as a contrast, we see that Lee is NOT like her. He is an incarnation of Marceline at their best; a humble person who left the business world on purpose and intends to never go back, but sacrifices his happiness for someone he just met, to make someone else happy and give them their dream.

The same applies to Gary/Gumball, and he acts as a contrast to the Bonnibel of Vampire World, though this arguably shows PB as more of a heroine, though a ruthless and rough one suited to the world she has to endure. She’s harsh, uncompromising and indifferent, evidently willing to run over seemingly harmless civilians (though with the implicit point that this particular scam has been used to trick her, and in a world like hers, she can’t afford to take risks) and barely blinks at one of her few friends and soldiers dying. And again, she is a daughter of the Vampire World; she is harsh, and cold and perhaps even callous, because she MUST be to survive such an awful place, just like how Farmworld Finn is closed off, tired and wary.

Gary shows a side of PB at their best, too. He doesn’t seem to really want to rule anything, but just to make the stuff he likes without having a demanding boss make him compromise his artistic ambitions; he’s horrified at the prospect of someone subjecting themselves to a miserable fate for his own benefit, and immediately drops his prospects so they don’t have to do that.

This shows PB and Marceline at their best; sacrificing something, taking responsibility and making the calls others shouldn’t have to. And it begs the question; much of what’s going on reflects on Simon in some way, even if its just the multiverse assuring him that yes, he DOES matter even as an ordinary guy with no power. Perhaps we do see it here, because they ARE inside his head, and it may be that his thoughts and mind influencing them.

The big thing about Simon that makes him important isn’t the power of the crown, but his impact on people, his restraint, and his willingness to let himself suffer because he believes its better that HE suffers than the world does. He might not be there in person, but perhaps an aspect of him is still influencing them, to make the best decisions they can.

[foultastemusic]

Power of noises and vaginas - a thought

For two decades now, post-hardcore has been considered a sub-genre descended from hardcore, which in turn was considered a sub-genre descended from punk, and which in turn... well, it's not important to put musical genres and sub-genres into boxes purposely organized to fit people and their ways of dressing and other useless aesthetics promoted by media/digital cultures. But for two decades now, post-hardcore has been asserting itself as a well-defined genre, with well-defined textural characteristics, as well as certain types of chords and experimentalist riffs in the nostalgic-depressive world, heartfelt screams with a poetically sad story to tell in the most imperfect and dirty way possible, where D.I.Y. is valued in the various arts that embrace recorded and live music.

In 2003, music researcher Jessica Hopper wrote the review "Emo: Where the Girls Aren't" for a column in Punk Planet 56. It was already in the cradle of the emo thing at the beginning of the century that we noticed an absence of girls at concerts - at first there was no mention of them playing or making music, but even their absence from the public as listeners / active participants in this subculture and community. Girls began to enter this world in a very controversial and unrevolutionary way, but always with all the freedom.

Obviously, through the promotion that took place on the internet on the various platforms, the genre reached more stages, more people, more musical cultures and gained a large structure. Girls (like everyone else) start going to these places, often through an interest they already had in other genres such as indie, punk, metal, etc., and as soon as they buy a ticket to go to a concert, we have a group of 50 young men talking about love, depression, nature and other "weaknesses" seen through the eyes of toxic contemporary masculinity. And girls are welcome here. They will always be welcome until they start making music out of fear, because in punk they've already had the chance to revolutionize themselves and post-hardcore/screamo gives voice and space to boys who also suffer from prejudice.

Hopper talks about this band that dedicates a song (Strike Anywhere - Refusal, 2001) to the girls about their problems and lives, and claims that we need more of that: protection and respect. But this hasn't happened and girls still don't feel encouraged and empowered: they are an inspiration for the experiences and texts of this subculture, they are desired as artists and recreationists, and even though they aren't sexualized or repudiated in all cases, they feel obliged to get on the boys' knees to make it too, perhaps even better. A fight against meritocracy, male dependency in order to learn or be promoted and supported, where we are ALL programmed to think that we have a sex organ between our legs and that public reception is influenced by this: either in a positive or a negative way.

«And so I watch these girls at emo shows more than I ever do the band. I watch them sing along, see what parts they freak out over. I wonder if this does it for them, if seeing these bands, these dudes on stage resonates and inspires them to want to pick up a guitar or drum sticks. Or if they just see this as something dudes do, because there are no girls, there is no them up there. I wonder if they are being thwarted by the FACT that there is no presentation of girls as participants, but rather, only as consumers – or if we reference the songs directly – the consumed. I wonder if this is where music will begin and end for them. If they can be radicalized in spite of this. If being denied keys to the clubhouse or airtime will spur them into action».

- Jessica Hopper (2003)

Girls are not yet part of this music, or at least not in a direct or comfortable way. Perhaps through music promotion, the organization of concerts, photographs and poster designs, perhaps through their words adopted by these boys or the desires and utopias of an all-embracing subcultural milieu that, although they may all agree and share the same idea, refuses to accept that they are not welcome altogether, completely. Perhaps they are, but ever since men began to dominate this music or all music, they have needed reasons to pick up a guitar without the issue of sexual gender being brought into the listening experience or even to politics. Would it be better to ignore the gender issue at all costs (until this argument is normalized) or to promote the importance of giving girls a voice to help empower them, as has been happening in punk and hardcore (until this issue becomes part of the contemporary elements of screamo)? Maybe no one has the answers, but the reality is that girls continue to enjoy and consume this music without drumsticks in their hands.

[reflections-in-a-critical-eye]

https://twitter.com/taemacious/status/1824164920503754759?t=dB_2q5Aoy398OJdjFEnQ7g&s=19

Why can't these people just enjoy anything? Always trying to create fanwars over nothing.

Jimin wore that shirt in 2022 for his photobook, Taemin is wearing now. Where is Jimin copying Taemin? Or even of each were "copying" the other so what? They've said they each inspire the other and they are good friends. Can't enjoy anything on kpop, it's always fighting and fighting.

I find so called connections based on out of context visual similarities not only a complete waste of time, but also a null point of interpretation. Or what is actually an attempt at interpretation, but falls short even in that case.

That connection is usually devoid of any attempt at trying to see if there's at least thematic intertextuality, something that would make the interpretation of possible visual similarities a valid argument.

In fandoms and consequently with stan mentality, this is merely a superficial attempt. X wore a similar outfit to Y a few years ago, there's a connection. One set of a music video has similar elements to another one, there's a connection. Same haircut and color, same jeans, similar jacket, similar sweater and so on. This in turn becomes weaponized and used differently, depending on the purpose a fandom/individual fan or stan has.

One would be to show the influence. It's usually used from a hierarchical perspective based on a number of aspects and it's a one-way street, top to bottom judgement and rarely one in which it would show that artistic influence works on different levels.

Then there's the other one, more common in fan spaces and usually used as a method to create conflict. The tweet you sent is part of that. And the original collage as well. It stems from a competition, imaginary or real, that only involves individuals active in fan spaces and not the idols themselves.

Both purposes have their basis in what is essentially a weak argument. More often that not, there is never a real attempt at an actual analysis. If so, then that would mean that someone would take a look at those concepts and analyze them by using at least one theoretical perspective which can be one of the following or more: historical (is that similarity actually a product of its time and what was the trend in k-pop at that specific moment in time), socio-economic, aesthetic, thematic, cultural, etc.

But that is not something that fans active in social media spaces are willing to do and perhaps it would be too much to ask that of them. I would rather want them not to do it at all, but I don't control fandoms.

As a result, these poor attempts that are mostly the result of stan mentality are essentially a waste of time. I didn't want to answer this initially because it's something that I have seen done time and time again and I can't be bothered with it anymore. But anyway, I have now expressed my position and I have said everything I have to say. I won't answer follow up asks on the topic.

[athingofvikings]

A Thing Of Vikings Chapter 128: With Open Arms

Chapter 128: With Open Arms

However, social forces do not exist in isolation. Even apparently singular points of social influence exist in the midst of a web of cues, directions, impulses, and directives. A useful way in which to conceptualize social dynamics is through a concept called dialectics. Related to the dialectical method of Greek philosophy, social dialectics allows one to frame many social issues in terms of two or more social forces in opposition to each other. In such a framing, “society” can be conceptualized as a web or fabric suspended between numerous forces working in opposition with each other, each of them trying to pull the resulting network in a direction of their liking. Wages for workers is perhaps the archetypal example of a social tension, stretched between the employer, who wishes for the wages to be low—if not nonexistent, in the extreme cases of thralldom—and the laborers, who want them as high as possible.

Consider other such oppositions; the aristocracy will be in opposition to the peasantry in terms of rights and privileges, and possibly also in opposition to the royalty. Hedonists exist in opposition with the ascetics. The intellectual against the ignorant, and possibly the propagandist. The agriculturalist against the industrialist and each in turn against the preservationist. The artist against the censor. The pacifist against the martialist. The authoritarian against the libertarian. The anarchist versus the statist. The despot versus the democrat. And so forth.

Each of these in turn stretch the fabric of society between themselves, forming the social environment of laws, mores, attitudes, beliefs, concepts, traditions and systems in which they live.

—Nationbuilding: How People Move, Talk, Think, Organize, & Structure Themselves, 1888, Amsterdam University Press

AO3 Chapter Link

~~~

My Original Fiction | Original Fiction Patreon

[fallout-fucker]

As much as I don't wanna take away from the 50's aesthetic of Fallout, a part of me wonders if any other country did progress past that era, mostly for the music and cultural movements. Like, how do we know the UK wasn't in a 70's hippie and/or 80's punk reminiscent era?

Sometimes I get this little headcanon that a lot of the same songs and music genres that came out of like the 50's-90's, perhaps even to the 2010's, still exist in the Fallout universe. Maybe not every artist, understandably, but a few? But the reason that there's only 50's music is that at some point a few decades before the Great War, America quietly and gradually banned the majority of music genres and songs because they didn't fit into the 'Clean, good, family-friendly' American culture they wanted. Also, it was a move the government made to control the populace. Take away art and music and things that could add to the already existent tensions due to the Resource Wars and such, and there are fewer things to stir the pot. If people aren't inspired by music and its influence, then maybe they won't be influenced to make a stand. It was a way to control them and keep them peaceful. Bring in more songs about love from the 50's, and people start settling down like in the 50's. Want people to embrace nuclear energy and robots, even if they're potentially a radiation risk? Atom bomb, baby! Have a few party songs, a few innuendo-filled songs (The Wanderer, Rocket 69), and one or two slightly political ones (Anything Goes), and they still think they have a choice.

The reason there's only a few songs in the games isn't just because they're the ones that survived the bombs, it's also because they're the ones deemed acceptable by the government and the rest were already destroyed. When I do think about this stuff, I always imagine people smuggling holotapes of music into the US.

Maybe Sole had a couple pirated holotapes? Maybe they never will again and that sucks. The 'Wealth might not even know there's other music. Perhaps Daisy heard some? Perhaps they try to remind one another how a particular song went, or what the missing lyric they can't recall is. They bond over hating the limited amount of songs now compared to what it was. It was bad enough when the US government discreetly banned ABBA, but now there's nothing. If Sole has to hear one of those songs again and nothing else, they'll go storming old recording studios and illegal Pre-War clubs themselves to find other music.

What I'm saying is, I would find it funny if the US is stuck listening to the same 40 songs, whilst people in other countries could be popping everything they have to Dancing Queen or Barbie Girl.

I like the mental image of someone fighting for their life against raiders to Gimme, Gimme, Gimme, or fighting glowing rats to Toxic by Britney Spears. What if Fallout-verse Taylor Swift is like 90-something when the bombs drop, and is now roaming the Wastes as a Little Old Lady Ghoul and the locals dub her as 'Granny/Grandma Ghoul'.

/Joke/Shitpost/

[ahmedmootaz]

If Ayin did distort, what kind of abilities would he have?

Dear Anonymous,

Good question! I've thought about it a lot, and I think that Ayin's Distortion would be mostly influenced by the traumas he endured, just as the Ensemble's members were all influenced by their most traumatic events;

Jae-Heon was influenced by how his son was run over by a road-roller and how his puppet was then destroyed by Roland, thus turning into a puppet-master and, subsequently, into an amalgamation of various different creatures, just like his puppets he made for Argalia.

Greta was influenced by how her fellow Eight-Chefs ate themselves and pushed themselves to the limit in the search for new tastes and flavours; her hunger and desire manifested in the form of a famished shark with many, many mouths in order to eat as much as she wanted.

And so on and so forth. If we were to follow the same formula for Ayin, I'd think that the events that marked/traumatised him the most had to be the Old Lab's raid by Garion, the Smoke War, and the loss of Carmen, so I believe his Distortion would have some form of connection to all three of these events.

Not to mention that, personally, I think Ayin was just a few wrong/right turns away in life from being the perfect Arbiter, and seeing how X manifested into a sick parody of an Arbiter himself, I'd think Ayin's Distortion would be quite similar, although with a few twists here and there.

For starters, I believe that his Arbiter gear would be more white-and-red instead of the standard and iconic gold-and-black issued to most Arbiters, mostly for the sake of artistic choices on my end, but also because I believe a Distortion would attempt to be different from the main enforcers of the City's order, as Carmen explicitly stated that, after she herself became the Voice of the Distortion, she was attempting to free the people from the City's cycle in her own, twisted way. As such, I believe she would help draw out a form that is at least visually distinct from Arbiters for her beloved Yinnie, of all people, seeing how he deserves that little pleasure the most, which is my explanation for how I'd explain this stylistic choice for Ayin while X's Distortion is a regular Arbiter outfit.

As for abilities, I'd personally assume they would be similar to what X possesses, to some degree, with typical Arbiter powers being the 'norm' for Ayin's Distortion, but I'd also assume that seeing how his trauma extends far beyond that of most of the PM characters we got to see so far, he'd also be able to tap into powers specifically from his time in the Smoke War. For example, I assume that he would be able to concentrate his powers to summon inter-dimensional portals like those used in the War, or perhaps even utilise the Smoke itself as one of his abilities to weaken opponents at the cost of it also adversely affecting him.

But I think what would also make him even more of a force to be reckoned with would be his relation to Abnormalities. I'm sure that he would resonate with quite a few Abnormality powers which Carmen would happily draw from him to make him into a bit of a indestructible force, although I'm not exactly sure on what Abnormality powers he would have access to, but one thing I am certain of is that he would without a doubt be able to manipulate blood to some extent or perhaps even mess with one's central nervous system, as an homage to his trauma with regards to Carmen. Perhaps he causes hallucinations or causes one's own mind to start attacking itself?

I think his biggest weakness would be his willingness to fight against his Distortion, it's just that he will need a lot of outside help to even have a chance at managing to ward off the Distortion, seeing how he's so full of repressed sentiments and emotions, and all of them bursting out as he Distorts would have quite the catastrophic consequences.

This was a really fun ask, and so I thank you, Anon, for providing me with it! I don't know if I can apply them somewhere soon, but this was quite fun to think of! As always, take care, stay safe, and see ya'!