#suppression of our symbols

[beautiful-basque-country]

The High Court of Nafarroa confirms the city hall of Atarrabia has to erase the coat of arms fo EH from the town fronton.

Atarrabia is a town near the Navarrese capital of just around 10,000 inhabitants. Also, friendly reminder that pilota is a Basque sport played in the fronton, wehre the coat of arms is. This fronton can host 500 viewers. JUST 500 PEOPLE, keep that in mind.

The matter has its origin in the repainting of the Zazpiak Bat coat of arms, which includes the seven Basque provinces accompanied by the term 'Euskal Herria':

The sentence reads: "It is not denied that one of the possibilities of using the term 'Euskal Herria' - or the coat of arms that represents said concept - can be neutral and non-partisan, but nor can we ignore the notorious political activity that seeks the integration of Nafarroa into the Basque Autonomous Community, nor the legitimate aspiration of forming a legal-political reality that does not exist today and of which these seven territories are part. This partisan aspect - or its possibility or appearance thereof —also exists. (...) The visual message is loaded with meanings, and a non-negligible part of them is far from being limited to an ornamental purpose or a designation of merely historical or cultural realities. Furthermore, as it is a coat of arms that integrates territories, the visual effect of convincing or proselytizing on the viewer is also worth taking into account." The magistrates conclude that "the place where the symbol displays its effects belongs to all citizens, so the duty of neutrality requires, therefore, the suppression of the coat of arms."

So they're forced to erase this symbol just because the possibility of a partisan aspect may or may not exist on it, and also because judges consider its symbolism SO powerful it could rot the viewers brains and convince them with independentist ideas, 500 people - if there's a sold out - at a time. Because, you know, when you go to a fronton you spend your time looking at the coat of arms instead of the game.

There's a possibility, too, the coat of arms may not be partisan and related to a traditional sport played all over those evil seven provinces, but that won't be taken into account, seemingly.

This is what we have to deal with, even in the smallest towns, in the tiniest buildings.

[x]

[yourstardarling]

Lilith Analysis

(Lady Lilith, by Dante Gabriel Rossetti)

In my perspective, Lilith symbolizes the female intuition which is often vilified in our patriarchal society. She questions the status quo, defying societal norms and forges her own path for how she lives her life. In some interpretations, Lilith is depicted as the serpent in the garden, tempting Eve with the apple as revenge for her expulsion after refusing to submit to Adam. Targeting Eve instead of Adam, shows how Lilith understands the curious nature within women to want to know more and what ifs. It is the same curiosity that made Pandora open the box releasing malicious spirits into the world.

The energy of Lilith is a vengeful one as she sought revenge against God for her banishment out of the garden. In her expulsion, she was stated to steal babies and harm innocent lives, unsympathetic to anyone in her way. So within our charts, Lilith shows where we've experienced profound shame and societal rejection. It is where we are often demonized for refusing to yield to others' expectations. If we don't heal this pain it often becomes a form of self-destruction, fueling a need to gain revenge, harming anyone in our path. This part of our chart is usually suppressed, relegated to the shadows, but integration of this energy is crucial. Mainly because keeping our shame underneath the surface will often cause self-sabotage within the house Lillith is in. Finding the underlying root of the problem will often lead to reclaiming of your power, making Lilith be an energy of magnetization and authority. Neglection will only exacerbate internal conflict.

Lilith in the 1st:In the first house, these individuals are the walking embodiments of Lilith. They are often faced with deep-seated feelings of shame regarding their sexuality and physical appearance. Many have endured the pain of bullying in their youth, which has made them feel shunned out from society. This shame becomes a heavy burden that feels as if it is a part of them, complicating efforts to express their true self openly. Consequently, a portion of their identity remains veiled, guarded against potential judgment or rejection from others. Yet, beneath this veil within their unconscious, lies a potent magnetism. A profound sense of sexuality that others find rather attractive or unsettling. They find themselves both desired and feared. But honestly like Britney said it’s because, "All of the boys and all of the girls want to if you seek Amy." Lilith's influence in this house encourages independence and self-assertion. It teaches the importance of standing firm in the face of societal pressures and refusing to be demonized for your own authenticity. However, yielding to criticism and seeking external validation risks facing internal conflicts. A constant battle against yourself. That is why confronting the shadow aspects of one's personality should be practiced, as it offers a pathway to self-discovery and empowerment. When you are able to show resilience and unwavering faith in yourself, you're able to garner admiration and respect from those around you. The ability to transmute pain into productive actions serves as a magnetic force, attracting allies and opportunities alike. Learning to embrace your inner sexual energy is imperative, as it is something that cannot be suppressed. Unfortunately, this embracement may invite unwanted attention, leaving you vulnerable to exploitation and trauma. Overall, the role of Lilith in the first house is one of self-acceptance and defiance against societal norms. It's a journey marked by challenges, but also by profound personal growth and authenticity.

Lilith in the 2nd: In the house of personal gains, Lilith has felt great shame surrounding her personal values. Individuals with this placement have a hard time surrounding their self worth and physical assets. Possessive tendencies lie beneath the surface, as a consequence from being betrayed in the past. People may have taken advantage of them for their material value and stolen from them. Financial wounds run deep making them unable to properly trust themselves with money. Might find themselves in cycles of reckless spending, prioritizing instant gratification over long term investments. The types go on a shopping spree and then feel guilty for indulging materialistically.These people can either be overindulgent or extremely picky when it comes to what they spend. There is an inherent value of pleasure and spending resources on things that make you feel good.The sign Lilith is in will give you an idea on what you unwarily spend money on and guide your financial decisions. Implementing a budget plan can be very beneficial in uncovering and healing shame surrounding your spending habits. It will help you regulate your spending. Underlying shadow challenges when it comes to self worth is another aspect of this placement. Leading to having doubts about deservingness and attaining success. Lilith in the 2nd, prompts a reevaluation of your values. Rather than being overly picky, you're encouraged to be intentional in your pursuits. Learn to align your investments with your deepest values and aspirations. Family dynamics may also contribute to your relationship with money, with the possibility of past generations engaging in questionable financial practices. Additionally, Lilith's immature aspects may tempt individuals to resort to unethical means of acquiring wealth, such as engaging in sex work or participating in illicit activities. However, succumbing to these temptations risks exploiting others and ultimately perpetuating cycles of harm. In navigating the influence of Lilith in the 2nd house, you are urged to exercise caution and integrity in financial dealings. By confronting shadows and cultivating a sense of self-worth, they can transcend shame and reclaim power over their financial well-being.

Lilith in the 3rd: When Lilith is in the third house of youth and mental stimulation, these individuals have deep shame within their speech and communication. Oftentimes they were demonized as a child, facing constant scrutiny about their childish behavior. Parental guardians made them seem like they were to blame for the smallest issues that occurred. In school they may have felt shunned out from their peers, becoming the target of bullying and ridicule. This ridicule can even come from their teachers that overly criticized them for not being the perfect student, leading them to feel like they were a bad kid. Might indicate having a speech impediment, having a hard time communicating how you feel and issues surrounding being able to read. Your intelligence was significantly downplayed from the earlier years of school which made you believe you were dumb. For this reason, you may prefer being quiet and only speaking when you are needed to, often avoiding starting conversation. To others you may seem standoffish when you speak, but instead it can be anxiety to say what you really want because of public reaction. This Lilith wound is one centered around your inner child and taking back power over your mind. Intrusive thoughts of feeling less than can often be an underlying trigger, but you must recognize that these voices in your head are not your own. It is programming from the ridicule you received as a kid. Mindfulness and meditation practices can help regulate the outside input that comes in your head. You're a very intellectually capable individual that often understands knowledge about topics considered unconventional by society. Don’t be ashamed of what you know and use it to teach other people information you are passionate about.

Lilith in the 4th: Within the house of home and heritage, Lilith has wrested with feeling of shame for her family background. These individuals can often grow up feeling sexually repressed by their family. Criticism for what they were and being called a slut for wanting to express themselves. This placement reminds me of Meg from Family Guy, and how she is consistently made the butt of all ridicule by her family. As you went through puberty, you could've felt uncomfortable being objectified by family members. Some could've faced even faced exploitation by their own family. There is a strange focus on purity within the household and committing towards conservative ideals of presenting yourself. From their point of view, you may be seen as someone who is promiscuous and disobeying traditional values. You might find it hard to feel at home within yourself because of these past afflictions. This can even lead to you feeling ashamed about your emotional responses, often viewing them as evil instead of necessary feelings. Aside from sexuality, this Lilith placement also indicates having shame regarding your origin. There might have been concealed truths about your birth, unraveling as you mature. Might have felt like your family were strangers and you did not belong with them. Issues with the mother figure can be highlighted by this placement. You don't get along well and could feel a sense of cruelty from her. A shadow side to you is kept veiled from your family, which makes you feel like an outsider by them. You may have a reputation of being the rebellious cousin. They may harbor outdated ideologies such as racism, homophobia and xenophobia, that makes you more ashamed of them. The home you grew up in may have been the cause of this shame too, because of its design or infestation issues. Overall, stepping away from your family's point of view of the world is a big factor with this Lilith placement. You cannot allow their lives to dictate who you are meant to be. Learning to nurture yourself and finding your own community is an essential part of your journey. As time pass, you may discover yourself becoming a space for other people to confide in about their personal issues. A testament to Lilith making a home for herself outside the boundaries of Eden.

Lilith in the 5th: In the fifth house, individuals have grappled with profound shame surrounding the way they experience pleasure within their lives. Their childhood may have been faced with restrictions on the ways they could have fun, such as engaging in hobbies solely to appease their parents rather than for personal enjoyment. Activities you found enjoyment in, felt like you needed to keep hidden away from other people in order to not get ridiculed. There are plenty of hobbies you enjoy that others will find unorthodox to have. For example, going to shooting ranges, participating in drag shows, taking part in the circus or cosplaying your favorite characters. When it comes to your talents, you might face envy from others because they want the attributes that you have. May face hate in your extracurricular activities and being outcasted by team members. In your own eyes, your often unsure about your talents and feel like you're not good enough in your practice. Additionally, there is also shame regarding sexual pleasure. You might find it fun to explore, but some experiences make it unsettling for you to enjoy. There may be a need to keep your sex life a secret from other people. However, sex positivity can be a notable aspect of this placement though, not having much conservative notions in your sexual experiences. When it comes to children, you might feel some shame for not wanting to have kids and face scrutiny from others for this stance. You can even feel like you hate the thought of children and not wanting them around you. If you do end up having kids, they can exhibit Lilith quality traits of rebellion and unorthodox behavior. There is definitely a shadow side to how you gain pleasure with this placement, indulging in self destructive behaviors and selling yourself away for fun. You must learn to tame that primal urge within you when you are having a great time. Especially as this can lead to addictions to pleasure, such as having a gambling, drug abuse and being overly sexual. Learn to set boundaries when you're having fun.

Lilith In the 6th: In the house of service, Lilith plays a commanding role within her work space. This placement reminds me of The Devil wears Prada, where Miranda was seen as a formidable figure by her colleagues. Similarly, coworkers may harbor similar feelings toward you, casting you as assertive & harsh. You may face a lot of scrutiny in the workplace and could even work in an environment where there's a prevalence of discrimination. Workplace harassment can occur here as well, oftentimes facing oversexualization. Navigating and accepting your shadow persona in the workplace becomes essential. As long as you come there to do your job, that’s all that matters. Just try not to lash out at your colleagues because of misconception and other issues. There may be a big rumor that you are lazy for not doing as much as everyone else. However, you're the type of person that only comes and does the work that is necessary, not overworking themselves as everyone else. On the flip side, you can be hyper focused on work and do a lot more in your day that others don’t really see. This can take a toll on your health and work stress can be a big indication of this placement. Speaking of health, you might have a terrible relationship with health officials. Health experts in the past might have treated you poorly and even faced a misdiagnosis. Your relationship with health overall is something you can feel intense emotions around. A health condition could make you feel like you don’t have the same capabilities as other people. Might struggle with digestion and eating food to nourish yourself. There is a lot of necessary shadow work to uncover within your habits and daily routines with this placement. Learn to not be so hard on yourself, making time to properly maintain your physical needs.Health is wealth after all.

Lilith In the 7th: When Lilith lies in the house of partnerships, there is often shame surrounding the close connections these people have. They often easily attract people with Lilith energy in their lives, such as rebellion, ostracization and outcasts. You're often able to see the version of others that they keep hidden underneath. For some reason, people can feel like they can trust you with their problems and you make space to not judge them. Something about you just allows people to feel easily able to open up their shame to you. It might be because there is a part of you that has felt the same shame of being shunned out by other people. In your love life, there could be a tendency to feel outcasted by your partners which leads to having a warped perception of yourself. Partners often can make you feel like you are too much and incapable of being loved. May find it hard to feel their needs being met in their personal relationships. Here lilith indicates issues of being taken advantage of by other people and personal power being exploited. Aggressive aspects can also show facing abuse, which can make these individuals pretty guarded when meeting others. You could feel the need to be in control and have a dominant role in your love life. However, self-destructive tendencies may spur from not getting what you want out of a partner and lead you sabotaging your connections. You can often pursue relationships you know are unhealthy for you. There’s a tendency to want people that bring out an unhinged version of yourself, becoming a whole different person with a partner. Shadow work needs to be done as to why you chase these toxic connections, which sometimes is rooted from the way you viewed the partnership of your parents.

Lilith in the 8th: In the house of death and loss, Lilith is put to face the extremes. Each time they are in a transitional phase in their lives, they get kicked out of their paradise. These individuals understand the darker sides of life and are somewhat good at navigating their shadow. Shadow side can often take things to the extreme when they are out of control. Really good at understanding the taboo and being okay with things that are scarier for other people. A necessary need to make peace with inner demons and resolving past psychological conflicts. While they are able to easily exude a seductive persona, sex can be a harsh topic for them to feel comfortable with. Losing their virginity might have been a monumental experience that shifted the way they act in their lives. There is a need to work on resolving issues with sex and not being afraid of it . Also, you might be into some fetishes that you feel the need to keep hidden from other people. Hiding is a big coping mechanism for them, whenever they feel like the world rejects them, they bury themselves down in shadows to not be seen. A distinct relationship with death, some hold huge guilt for being unphased by death, while others worry about their own deaths. If a family member had died, you might feel guilty for not being sad or crying at the funeral. These people can mourn their innocence a lot, thinking of a time they were untouched by the world around them. During transitional phases of your life, you could be vilified and demonized for acting differently. Might have had a dark aesthetic or emo phase during your teen years. Change can be a scary thing for you and you could harbor strong resistance towards new possibilities. This mainly comes from the scrutiny you’ve felt by other people. Learn to embrace the taboo and understand change will only allow you to reclaim your power.

Lilith in the 9th: These individuals hold a complex relationship with religion and belief systems. Growing up, they likely experienced a religious environment that instilled fear and submission to authority. It's possible they had overly religious parents who prioritized adherence to faith, rather than showing genuine love and understanding for their children. As you mature, there's a tendency to reject traditional systems of beliefs for more esoteric philosophies, helping you find empowerment through alternative spiritual paths. Although shifting your beliefs will allow you to have a sense of freedom, remnants of past religious trauma still linger in your mind. Guilt for what you believe in is a big focus for this placement. They often find themselves at odds with mainstream perspectives, feeling a sense of alienation and struggling to fit in. There's a tendency to doubt their intelligence and the information they know. This struggle extends to academic pursuits as well, where they may feel out of place and struggle to connect with their peers. Moving away from their area of upbringing can be liberating, allowing them to explore their shadow aspects and embrace their darker side through travel and adventure. In doing so, they may discover a newfound magnetism and allure, attracting others to their path towards self-discovery.

Lilith in the 10th: In the house of public career, Lilith exerts a strong influence on one's outward image and persona. When in public settings, you often see people being easily magnetized towards you. If Lilith is conjunct the Midheaven (MC), it can signify experiences of unwanted attention, including catcalling. There's a deep-seated fear of being seen, stemming from the difference between your public persona and true self-image. Overexposure to the public eye can lead to discomfort, particularly in career fields where others seem to dominate or overshadow you. There is a natural ability to exude sensuality that others find intriguing. They may develop a reputation for sensuality and allure, which can intimidate others, particularly men, due to the inherent power they radiate. Despite the fantasization, they may resent the objectification and sexualization. In professional settings their bosses may even attempt to take advantage of them. This placement can also indicate stage fright and social anxiety, causing them to prefer the sidelines rather than the spotlight. An unbalanced version of this placement would be sabotaging yourself when it comes to your career. Promoting bad behavior so that you can gain the upper advantage in situations. It's crucial for them to be vigilant against exploitation by authority figures and to properly navigate professional relationships and contracts. Despite potential misconceptions about their character, individuals with this placement must embrace their authenticity and prioritize their own career aspirations over societal expectations. Your that b*tch for real, and you cannot allow the public opinion of you to dictate who you are. Also, Lilith in the 10th house may signify a challenging relationship with their father, involving absence, mistreatment, or attempts at control. This further fuels aspirations to become a successful person, in order to prove their farther wrong. Embracing their power and authenticity is important for success and fulfillment in the professional world.

Lilith in the 11th: Friendships are never easy with Lilith in the 11th. Despite outward display of support, these individuals frequently encounter betrayal from those they consider close allies, discovering that supposed friends harbor secret animosity and ulterior motives towards them. Friends could make jokes about insecurities you have, while accusing you of being soft for finding offence. Your secrets are not the safest within your social networks, they are like blind items ready to spill all the tea about your personal life. This atmosphere of distrust can lead to a cautious approach to forming friendships, resulting in a preference for family and romantic relationships over the unpredictability of friendships. Despite these challenges, individuals with this placement often gravitate towards unconventional or marginalized groups of people. Finding companionship in the outcasts who defy societal norms. They may become strong advocates for the rights and liberation of marginalized groups, focusing on the need for women's rights and the empowerment of societal underdogs. So while friendships may be met with much difficulty, these individuals create meaningful connections with fellow non-conformists in society. Finding solidarity in their shared struggles, leading to finding community outside of Eden.

Lilith in the 12th: Individuals with Lilith in the 12th house tend to keep Lilith's energy to the depths of their subconscious mind. They are often unaware of its magnetic, rebellious, and sexually charged nature. May doubt their own sexuality and seductive capabilities, feeling overshadowed by others charm. However, when in solitude, Lilith emerges to confront them about their inner shadows and demons. This often leads to solitary battles with their deepest fears and insecurities. Sleep issues are common with this placement, as they may struggle to maintain a stable sleep routine. May prefer the quiet solitude of the night for introspection and self-discovery. In their dreams, they often confront scenarios designed to evoke feelings of inadequacy and shame, forcing them to confront their inner vulnerabilities. They can be drawn towards dream working, meditation, shifting and exploring unique ways to access their subconscious mind. By using the arts, they can transmute fears and underlying issues in their mind to a reservoir of creativity. You can often see their shadow portrayed boldly in their art. Also, these individuals are often empathetic and hold nonjudgmental view towards the shadows of other people. Overall, through uncovering their darkness, Lilith in the 12th house can lead to spiritual growth and artistic development when integrated unapologetically.

____

Remember to look at the aspects to Lilith in your chart. Since it is an astrological point & asteroid, it doesn't hold as much significance compared to the planets. So aspects allow you to know how much of this energy can be brought up to the surface. Also, this reading is for all versions of Lilith in the chart.

-your Star Darling

(Portrait of Simonetta Vespucci, by Piero Di Cosimo)

[genderkoolaid]

expand on ur "mental asylum Marxism shit" thing about children & grief?? from what you've said im pretty sure i will relate from my own experiences as a grieving child. also it sounds interesting!!

so i was thinking about how weird it is that, when a child has to deal with the death of a loved one, they say something like "no child should have to go through this! no child should have to even think about death!" which strikes me as weird because i was a child who dealt with the deaths of multiple close family members, very close together. the first was my great-grandmother, who i lived with and who was my best friend. death was never foreign to me (my mom has always been very death-positive on top of all that). grief was just part of my life like everything else was.

but i realized that its because people think childhood should not have any flaws. you should be 100% happy and fulfilled all the time. any time a child experiences anything painful, its bad. not "children should have access to love and support," but "children should not have basic life experiences because the idea of childhood being anything other than fluffy purity scares me."

because children in society are fundamentally not people. especially in a society structured around christian beliefs in natural law theory, that what is natural = what is good, healthy, and Divinely commanded. so on top of children being the property of adults, they are also forced to be the symbols of Nature. whatever is the most useful to whoever needs them. which means we built up this idea of children as tabula rasas, pureness incarnate. like a magic mirror where if we look into it, we'll be able to catch a glimpse of the true face of humanity. every single thing children do can be scrutinized for some grand truth about humans as a whole. and then, the ways children are treated also reflect how we think humanity should interact with its own nature.

example: the idea of humanity as inherently sinful and wicked, with that urge needing to be suppressed through state violence (hello hobbes) = the idea that children are annoying and shitty on purpose and need to be forced via punishment into being Good Citizens.

this is also why children cannot be trans, even though all trans people must prove that we were trans children. being queer must be unnatural; and even if not, its inherently sexual, and sexuality is dirty and bad. so children can't be trans, and they also can't read books on puberty until their parents decide when and what exactly they are allowed to learn. child victims of sexual assault only matter to the extent that they can be used as a symbol of a cultural threat; calling Jewish or trans people pedophiles means saying that they are foreigners attacking basic human nature, and indirectly, Divine command. if you aren't the right kind of victim, or when you inevitably reveal yourself to be A Person with complicated experiences and opinions, you are no longer of use to the agenda.

it sucks that bad things happen to anyone. aspects of youth can exacerbate the pain sometimes, but sometimes it does the reverse: I wish I could have spent more time with the family members I lost, but I know other people who are glad they loss family members young, because they weren't really hurt by it. I think the main thing is that, even sometimes when we talk about our past selves, we project this cultural idea of Child As Purity and ignore the actual person having the experience. when we "empathize" with children by projecting Purity onto them, we aren't actually connecting with them.

[ranticore]

some more horse guy fashions, specifically historical

erased the mandolin for this one goodbye mandolin i couldn't be bothered drawing you

so my thought process for this is like what would a society of, lbr, british ppl who are horses value and how would that translate into what they wear if they specifically don't have a taboo against nudity. these fashions are pre-florian conversion (florian was the guy who gave them all government-mandated shame) and considered traditional (the full coverage dresses are also traditional but to a post-florian period so those would be called like. idk. classical). they were still in use in the enclaves north of ironwall for quite a while. anyway returning to the point, the answer to 'what they value' is movement. in actual horses, herd hierarchy and social function is based off movement - free movement for animals for whom the flight response is so strong is an incredibly important thing. dominance in horses is expressed and reinforced by controlling and curtailing the movement of subordinates. for these people, free movement was enhanced by kinetic fashion - free-flowing garments like capes, loosely-pinned headgear with feathers and floaty cloth, and noise-generating devices like bells and chimes were all used to elaborate and enhance the appearance of somebody's gait. the overall look was mostly based off of morris dancers (pheasant feathers, bells on the legs, handkerchiefs) because i like the tie-in to suppression of folk dance by puritans. i think these guys would have some great folk dances

in much the same way trainers are just normal everyday footwear now, game kerchiefs/flags were worn in non-sports contexts because it suffused into the mainstream and became Cool. the flags were used in a game similar to tag rugby if you've ever seen that played (where snatching people's flags is used instead of full contact tackling, forcing someone who's been 'tagged' to stand still until the flags are returned). as i said before somewhere, centaur team sports go incredibly hard.

the tail ornaments were status symbols and in appearance a bit like the traditional show turnout of shire horses. woven grass and straw could be used for a temporary ornament like these, but metal or carved wood were really impressive, and very common gifts of favour between romantic partners. more flags could be hung there if you wanted to be really cool

variations of this style of mane décor were also employed (they loved their ribbons)

in the same time period, Ironwall fashion was a little bit different. These expensive caparisons were usually purchased secondhand after a real horse was done wearing them, with distinct front and back halves of different length. The garments would usually have the original liveries removed and replaced by generic religious iconography as few centaurs would ever have their own heraldry. Later, in the Georgian and Victorian eras, full coverage to the pasterns with a single undergarment was the only acceptable option (that's the classical style now) The rest of the picture is self-evident, but centaurs at the time wore additional... equipment on the withers which were called a variety of very colourful names but mostly referred to as gelding bars (as in, they will geld you if you sit on them). they were metal and spiked. these were introduced by the florian government to discourage the grossly inappropriate contact of one person's legs around another. previously there was no great taboo against riding on a centaur's back, it wasn't super common but nobody was like "this is basically public sex" until our pal centaur cromwell i mean florian came along and decided this was the work of the devil. young people were also made to wear these to discourage the homosocial behaviour very common to the mid-20s age groups of both sexes, and they also had a place in preventing stallions from wrestling (ironically increasing the danger of their fights because well now all we can do is stand back and kick). the wearing of these devices was mandatory. headcoverings were not strictly necessary, and neither were fully-wrapped tails, but some especially devout citizens took to it quite well.

[thesithdiaries]

Prisoner (Part 1)

Set: Middle of season 1 to beginning of season 2

Pairing: (kind of) Aemond Targaryen x Velaryon female!reader, (platonic) overprotective!Jacaerys Velaryon x Velaryon female!reader

Warnings: typical westori violence, curse words/spoilers for both seasons but especially season 2, everyone being absolutely stupid, conversations about characters that were 💀, major character death, talks of arranged marriage, being made prisoner, bruises, scrapes, minor talk about weight and not eating

Plot: One of Viserys Targaryen’s final wishes was to see them married. To please him, Rhaenyra allowed her daughter to stay in the Red Keep alone, not knowing it would be a terrible mistake.

"Luke, what's wrong?" You asked, a sense of dread washing over your body.

Your brother sat there, looking panicked, twiddling his fingers. "Vaemond Velaryon has questioned my legitimacy… Mother said we're going to King’s Landing."

"It’ll be alright," you assured him, lightly squeezing his hands. "This matter will be settled in front of the court and nothing will come of it."

Lucerys did not believe your words. All his insecurities about his parentage resurfaced. He had tried to suppress them because his siblings never treated it like an issue; on the contrary, you seemed proud.

"What are you two doing?" Jace walked into the sitting area and plopped down beside his sister.

You scoffed, playfully pushing him away. "There are other places to sit, Jace."

"It all seems occupied to me," he laughed, but it quickly died down when he sensed the tension in the room. "What is it?"

Luke stared at the ground, not wanting to repeat it. You glanced at Jace with a frown and gave a short nod, making him sigh.

Sniffles could be heard across the room.

Rhaenyra stood in the middle of her chambers, holding a piece of parchment that had arrived by raven. Her eyes, reddened and swollen, stared at the floor, tears slowly falling down her cheeks.

You and Jace wept silently, while Luke sat on the floor, trying to process the news.

Harwin Strong had died. Their father was gone.

Rhaenyra had revealed the truth after Harwin and Lionel left for Harrenhal. You and your siblings had suspicions but were never brave enough to ask her directly. Jacaerys was the one who finally did it after they left the Red Keep.

In hindsight, it all made sense: the way Harwin visited them as often as he could, all the gifts and flowers, the affection he showered on them, even the training sessions. Even joining them to get a dragon egg for Joffrey…

… It was also clear to them that Laenor knew and agreed with the situation.

The three of them understood how dangerous this secret was. If others found out that Laenor was not their father, they would be branded as bastards, and their mother's claim to the Iron Throne would vanish.

After Laena’s funeral and Laenor’s death, you and Jace had a conversation about everything.

Viserys had protected them that night. He could have easily told everyone the truth, but he did not. Instead, he chose to threaten anyone who would dare question their parentage, including his wife and his sons.

You vowed to protect each other and your family. You knew that someday, someone would challenge their claim to Driftmark. Corlys always wanted Luke to be Lord of the Tides, but Luke did not want it. He declined the offer multiple times, content to remain a prince if it meant his family was still alive.

---

The Red Keep felt strange, unfamiliar.

Seven-pointed stars hung on the walls, while the House Targaryen symbols and tapestries had disappeared. You could tell that Daemon and your mother were not happy about these changes.

As Daemon and Rhaenyra went to see the King, you and Luke followed Jace to the courtyard. He was reminiscing about childhood antics.

"Everything will go in our favor," you promised Luke, noticing his worried expression. "Mother will not let Vaemond get away with this."

"No one would question me being heir to Driftmark if I looked more like Ser Laenor Velaryon than Ser Harwin Strong."

"Lucerys!" You softly reprimanded him.

"It doesn't matter what they think," Jace added.

You were about to speak when gasps and applause erupted nearby. As you walked together towards the commotion, Jace held your hand, prepared for anything.

It was Ser Criston Cole and their uncle Aemond. They had not seen them in six years, since the incident at Driftmark. Lucerys tensed, noticing Aemond's eyepatch.

"Nephews, niece… have you come to train?" Aemond asked.

"I have," you announced, stepping forward. Jace's eyes widened as he watched you pick up a sword.

Aemond, his face a mask of confidence, addressed you with a slight smirk. "Ready to learn, niece?"

You replied defiantly, "Let's see what you can teach me, uncle."

Their swords clashed, the sound ringing out across the courtyard. Aemond's initial strikes were powerful and precise, but you met them with equal force and skill.

Jace, tense and protective, clenched his fists. "She shouldn't be doing this," he muttered, stepping forward as if to intervene. Luke quickly grabbed his wrist, holding him back.

"She can handle herself," Luke insisted, though his eyes never left the duel, also scared for his sister.

You and Aemond moved with speed and precision. The intensity of the fight increased, and the crowd's murmurs grew louder. It was no longer a mere training session, Aemond wanted you to suffer.

His smirk faded, replaced by a look of concentration and annoyance. Your determination was shining through, every move demonstrating your skill and strength. As you continued, it became clear that neither had the advantage.

Finally, Criston Cole had enough and carefully stepped in the middle to stop it. You both stepped back, breathing heavily. The courtyard fell silent.

Aemond nodded, lowering his sword. "Well fought, niece."

You, equally breathless, feeling proud of yourself and the outcome. "Thank you, uncle."

Jace, still held back by Luke, relaxed and let out a breath he hadn't realized he was holding.

"See? She's alright," Luke whispered.

Jace scoffed, growing angrier by the second. You were grinning as you received praise from the crowd, but your smile faded when you turned to see your brothers. Jace held your gaze, silently letting you know of his displeasure.

As everyone left the courtyard to head towards the Throne Room, you approached them. "What did you think?" you wondered shyly, even though you knew what the answer would be.

"It was brilliant," Luke admitted. "I knew Daemon was overseeing your training, but I didn't expect this."

"And you?" You asked Jace directly. He clenched his jaw.

"I thought it was foolish, exposing yourself that way and with him, of all people." You lowered her head, while Luke sighed. "Let's go. Mother is probably waiting for us."

---

You stood between Daemon and Jace in the Throne Room. Jace had briefly told Daemon what had happened outside. Although proud that you could hold her own against Aemond, Daemon did not want to let you out of his sight for fear you would do something like that again.

"You may run your house as you see fit, but you will not decide the future of mine. My house survived the Doom and a thousand tribulations besides," Vaemond Velaryon ranted. "And gods be damned, I will not see it ended on the account of this..."

"Say it," Daemon dared.

Vaemond smirked. "Her children are bastards! And she and her daughter are whores."

"I… will have your tongue for that," King Viserys said, standing up from the Iron Throne.

Jacaerys quickly wrapped his arms around you, holding your face against his chest so you wouldn't witness what was about to happen.

In the blink of an eye, Daemon stood behind him and sliced his head in half. The court gasped at the sight. "He can keep his tongue."

"Disarm him!" Otto Hightower ordered.

"No need," Daemon said, returning to his family's side. You were shaking. Even though you hadn't seen it, the noise alone would haunt your dreams. On the other side of the room, Aemond’s attention was on you. On how your bastard brother held you close, to protect you from the bloody sight.

Part 2

[yasmindifference]

12!

Tim is only halfway through his explanation of the case he's been working when Bruce sighs and says, "I'll bring Hood in."

He's so astonished by this idiocy that it genuinely takes him a few seconds to recover; he has to run to catch up. Then, since he's running anyway, he uses his momentum to slide into place a few steps ahead, blocking Batman's path.

In the Cave, that's more symbolic than anything--there's plenty of room to go around him--and B respects that much, at least. He stops in his tracks.

"No, you won't," Tim says very clearly.

Batman frowns. "Red Robin."

"Batman," he returns, and Batman's frown deepens.

He's wearing the cowl now, having pulled it on as he walked--steeling himself for what he's decided he has to do. Shutting Bruce away so his paternal affection doesn't slow him down.

As usual, he's being a complete moron. World's Greatest Detective, Tim's ass.

"Red Robin," Batman says again, "your attachment to Red Hood--"

"--has nothing to do with this," Tim interrupts. "Jason didn't do it."

His pointed use of Jason's actual name goes unacknowledged; Batman sets his shoulders to loom and doubles down.

"The victim profile is clearly in line with Hood's usual targets," he says. "The victim's own victims were children, specifically children from Crime Alley, and his crimes against them were exactly the kind that Hood punishes the most severely. You can't deny that."

He's using the Batman growl and still looming over Tim...why, Tim's not exactly sure. It's not like he ever backed down from this kind of display even when he was a literal child facing down a Batman half-mad with grief. As an adult and a vigilante in his own right, who's been facing down the city's, world's, and occasionally galaxy's worst for nearly a decade...Batman is barely going to make him blink.

So he meets the eerie white lenses of the cowl straight on when he says, "No, I can't deny any of that. But Jason still didn't do it."

"You're being unrealistic," Batman says sharply. "Basing your conclusion on emotion instead of fact."

"No, that would be you," Tim corrects, just as sharp. "You're blinded by your issues with Jason's way of doing things. If you were actually thinking straight--"

"Hood makes a habit of targeting rapists, pedophiles, and anyone who breaks his so-called 'rules' in the territory he claims as his." Batman looms harder. "All three apply to the victim. What evidence do you have to support his innocence?"

"The fact that this isn't how Jason works."

Batman's face blanks out, scowl wiped away as he forcefully suppresses his reaction to Tim's words.

"Hood has never agreed with the no-kill rule," he says, "and despite our truce, he never committed to not using lethal force. It was only a matter of time before he crossed the line again, and this is precisely how he likes to 'punish' those he deems guilty."

Tim has to take a second to deliberately calm himself before he can trust his voice. His hands ache for how tightly he's fisted them.

"No," he says, once he's sure his voice won't shake with the anger trembling in his fists. "No, it isn't."

"Tim--"

"It's true that Jason isn't opposed to lethal force," he says over Batman. "It's also true that he particularly targets people who break his rules and/or prey on children. But not like this!"

If he were anyone but Batman, Tim would say Bruce falters.

"Explain."

Tim doesn't hesitate.

"Yes, Jason is willing to kill," he says. "Yes, he'll even make it hurt if the crime is bad enough. But his goal isn't to punish anyone--it's to protect people."

Batman's flat expression--what little Tim can see of it beyond the cowl, at least--says he doesn't appreciate the difference.

Tim tries again. "Jason doesn't kill because he enjoys it, he kills because he thinks it's the only way to stop the worst of the worst. That's why he goes after the people the system can't or won't contain."

Still, Batman is unmoved. Tim gets to the point.

"Our victim was tortured over the course of several hours," he says again. It was one of the first lines in his little presentation on the case, and should have immediately disqualified Jason as a potential perpetrator. "I estimate at least twelve hours passed between the infliction of the first wound and his death, which was the result of a combination of shock and blood loss."

"You said that already," Batman says, unamused.

"Yes, and you should've known that it ruled out Jason!" Tim snaps. "If Jason had done this, he might have, have kneecapped the guy first, or shot him in the gut, or something, because yes, he'd have wanted to make him hurt. But the death still would have been measured in minutes, because at the end of the day, Jason's main priority is to end suffering, not cause it."

For a long, tense moment, Batman stares at him. Tim's trembling with emotion--not just anger that Batman is doubting him, but fear at what Batman might do to Jason if Tim can't stop him.

For all of Bruce's talk about Jason crossing lines...when it comes to Jason, Bruce tends to cross plenty himself.

Finally, Batman (and he is still so very Batman) says, "I wish I could believe that, but I can't."

"Then believe in me," Tim says, seizing the opening at once. "Just give me a day or two, okay? I'll find the real killer and prove that Jason didn't do this."

After either a few seconds or a lifetime, Batman finally--finally--backs down.

"You have a week," he says, and turns away. "And if you're wrong..."

Tim isn't about to humor that ominous trailing off. "I'm not. You'll see."

"I hope so," Bruce says quietly.

Prompt #12 was one character standing up for the other! Good choice! ♡♡

[dailyadventureprompts]

Deity: Tergrid, God of Fright

"Terror is the natural state of a child, they know they are small, vunrable, glass fragile. It is only once we grow that we delude ourselves into thinking we are safe, that we are strong, that we have control over the world we live in. Show a grown man how little control he really has, and you will see the child he always was: pissreeking, repentant, and pleading for his mother. " - Gerheart, village executioner

A goddess for those who hold close to the light dreading the unknown or those who wander gleefully into the dark seeking it, Tergrid is a deity of imagined horrors and terrible omens.

Depicted as a young woman always bearing a lantern, myths speak of Tergrid's shadow as a monstrous, murderous thing with a will of its own. Unable to kill the goddess due to the light she carries, it vents it's directionless wrath on those who linger beyond the lantern's glow. This duality, as both as the victim of fear and the source of it defines the brightmaiden's worship; as she is both threat and saviour to those who draw her attention.

Adventure Hooks:

The party arrive at a country roadhouse at dusk, only to find the inhabitants have nailed shut every door and shutter as if preparing for a siege. They say some horrid murderous things are lurking just off the road, and as the light wanes they refuse to let the heroes inside. The roadhouse's residents are terrified and are willing to fight to keep the party out, half convinced the party are themselves the things they should be afraid of... which isn't to say there ISN'T anything else waiting for that door to open. After negoitating their way inside (or forcing the issue) the heroes discover the roadhouse residents were warned of the danger by a mysterious woman who passed through earlier, though none can remember exactly what she looked like.

A knight renowned for his fearless deeds wanders the street in a waking nightmare, seeing threats everywhere and lashing out at phantoms and passersby. Even after being subdued it’s clear he won’t awake, and many suspect interference from jealous rivals in the upcoming tourney. The knight’s meek squire asks the party to help investigate the causes and possible cures of her master’s madness, never suspecting that her suppressed resentment at his recklessness might’ve manifested as a curse.

In desperate need of answers, the party consults an oracle dedicated to Tergrid who has them undergo trials of fear and phantasm so that they might know the truth. Chiefest among these is battling in a dark cave full of shadow monsters, while flickering visions of the future are cast on the wall by the guttering lantern light. The longer they can endure, the more they will know, but that isn't likely to be long unless they fight harder than they ever have before.

Inspiration: Tergrid is a shameless lift from Magic the Gathering's Kaldheim setting, which I've never played but apparently keep returning to as a consistent well of inspiration.

Fear both as a mechanic and motif is something I think is underutilized in D&D which is odd considering it's a game about venturing out into the unknown to face potentially deadly challenges. Fear and risk are what our heroes must endure to experience the wonder and rewards on the other side of their journey. As such it makes sense for a goddess of fear to play a role in the thematic weave of the stories we end up telling.

Speaking in less lofty terms, I also think using the lantern as a symbol for being frightened fucks hard. It's a tiny, fragile, and temporary respite from an ocean of darkness and the threats it contains.

Worshippers: The lost and abandoned, Unseele Fey, Shadowcasters and other denizens of the shadowfell. There is also heavy overlap with the worship of the night goddess Nyx.

Signs: Nightmares, unnatural or living shadows,

Symbols: A Lantern, often surrounded by a circle of darkness.

Artsource

[wordslikesilver]

I am once again thinking about Hoarah Loux, the only man Marika ever trusted and the only man she ever loved. It’s such an insane thing to think about the fact that the second last boss of Elden Ring is Some Guy. He is literally just A Human Man. Marika looks at this fucking raving barbarian man and decides to My Fair Lady him into a Lord like the deranged woman she is by assigning him a babysitter to perpetually gnaw on his neck whenever he’s in public. As insane as all that sounds, let’s break down that imagery a little because it’s actually really good! His babysitter is the king of beasts, a lion named Serosh, who digs his claws and his fangs into Hoarah Loux’s body to keep him suppressed and restrained enough in temperament to now be fit to be named Godfrey, The First Elden Lord of Queen Marika.

Serosh is frankly quite mysterious as far as what he actually is goes but as far as story themes go, he’s a really interesting symbol of lordship. The lion basically IS Godfrey’s crown, it’s what makes him Godfrey. The symbolism is essentially stating in a very overt way that this man is more savage than all the beasts of the world. In Elden Ring, beasts with five fingers indicate an enlightened or elevated intelligence, blessed by the greater will. It’s fascinating how it’s basically stating that Serosh is more intelligent, refined and noble than Hoarah Loux, that this man is more wild and savage than the greatest of all the beasts in the world. That only a beast king could teach this man to be a Lord. Godfrey can rip him apart anytime but he doesn’t. It takes more than strength of body to wear a crown and he knows it. He needs Serosh to honour and do right by Marika. He is showing his opponents a courtesy, as he puts it. Morgott takes after his example and so too is Radahn inspired by him. It’s really wonderful imagery.

There’s more to the symbolism. My knowledge of alchemy is, I completely admit, too surface level to elegantly speak at length but I’ve done some light reading online to back up my confidence in what I’m saying. We know Miyazaki loves dark edgy anime like Berserk and I posit that he also gained inspiration from the anime/manga Hellsing, in which the main character recites the line “I am the bird of Hermes, eating my own wings to make me tame.” This line comes from the Ripley Scroll and is theorized to have many meanings but popularly is presumed to mean giving up higher philosophy and knowledge to live normally on the earth as a human. Miyazaki uses lots of alchemical symbolism in his works, Elden Ring especially (go watch Quelaag’s videos!) so I could be totally full of shit about hellsing but I’m completely confident that Godfrey is meant to be an inversion (like literally everything else about his character) of what the Bird of Hermes represents. Godhood is a prison, a shackling. The entire plot is Marika (and Ranni tbh) trying to escape that imprisonment. Godfrey loves Marika enough to chain himself down, to eat his own wings, to pull out his own teeth and claws for her to make himself tame and ascend to lordship.

What’s especially fascinating about him is that he carries Serosh out into the badlands with him, as the opening cutscene shows. Cut dialogue indicates he already knew the Elden Ring would shatter and the tarnished would be beckoned to return. That Marika told him her plan in full before she took from him and his warriors the grace of gold and sent them away. A line from him saying to trust in gold, always, that it will guide our fates to our true destiny has wonderful implications I would certainly love to expand on in another post maybe. Hoarah Loux was just a human man and Marika trusted him enough to tell him everything. Trusted him with her gambit to escape the shackles of godhood. This is the fascinating part about taking Serosh with him. Keeping himself disciplined enough to remain a Lord when he returns. To hold back his aching heart just enough that he could follow through on this dark plan and allow his wife to protect him from the machinations of the greater will by sending him away. Also note that in that opening cutscene, he’s being crucified, with a lion about his shoulders and spear buried in his abdomen. They could not be milking the Jesus imagery harder if they tried. The Bird of Hermes is also thought to represent Christ, more points for that symbolism.

I love Godfrey so much as a character. He loved his sons and he loved his wife. The tenderness that he holds Morgott with is enough to make me cry. How he wished he could’ve seen him sooner, I’m all too sure. He’s the only other character we see guided by grace in the entire game. Marika guides you and her beloved husband, that’s it, that’s how much she trusts him. When he rips Serosh from his shoulders, you understand how Marika felt such faith in him. In Elden Ring, it is through battle that you face the true self of an opponent. Godfrey reveals to you Hoarah Loux, Warrior Chieftain of the Badlands. It is a test. Are you worthy to free her? Can you do what I could not? I have shown you courtesy enough as a Lord. You served me well, Serosh. I relieve you of your burden and feel only gratitude for your service. Now begins the test. Are you, tarnished, stronger than the only man who was strong enough to bear the burden of Lordship? Are you stronger than the only man that Queen Marika ever trusted? Are you stronger than the only man she ever loved?

[laifromthecosmos]

Weakened Moon and the Rise of the "Dark Femininity"

Feminine energy is a subtle and powerful force that exists within all of us, representing the yin principle — receptive, intuitive, emotional and creative. It manifests itself through empathy, self-care, sensuality and connection with emotions. The Moon is responsible for activating these feminine powers as it is the great symbol of the most feminine planet in the zodiac. Each week she is in a phase, just like women. The Moon does not have a constant energy like the Sun (symbol of masculine energy). The Sun is God and the Moon is the Goddess, the Sun is spirit and the Moon is the creative force, the Sun is Shiva and the Moon is Shakti. Together they represent a great and primordial duality of male and female. The Moon is the divine mind (that's why in Vedic astrology its sign is the lunar) which includes emotion and feelings, the consciousness that reflects on things). The mind is dependent, reflective and conditioned to consciousness. The Moon shows how we relate to others, our social consciousness. While the sun represents individuality, the Moon indicates our personality. When afflicted, she may show personality disturbances in relation to other people or similar symptoms and emotional disturbances. A Moon with nakshatras that harmonize with your energy can give a sensitivity to human feelings, a social awareness and a need to exchange emotions. It makes our feelings recognized and shared with others. The Moon is everyone's friend, it has our popularity, social status and ability to influence mass.

As very sensitive and changeable, the Moon can be easily influenced and delight in other planetary energies. When strong, the Moon can have the same prominence as the Sun and can shine like it. When the Moon is in a Leo or solar nakshatra, there is a combination of a great leader who is open to people's needs. When combined with Venus, it can have intellectuality from various fields of knowledge accompanied by artistic gifts and spiritual devotion. Saturn can darken you, depress you or give you detachment. Rahu can "fog" or cause loss of mind power. This is because the Moon has the ability to become whatever influences it. Therefore, some nakshatras are responsible for "destroying" and not cooperating with this pure feminine energy that the Moon possesses and turns it into something more destructible and obscure, better known today as the Dark Femininity side.

The concept of "Dark Femininity" refers to a powerful and often repressed aspect of feminine energy, characterized by attributes such as mystery, intensity, inner strength, control, deep sensuality, dark intuition, and the capacity for transformation and rebirth. Unlike traditional feminine energy, which is often associated with softness, receptivity and nurturing, dark feminine involves more hidden, deep and even destructive aspects of the psyche. This energy is related to the acceptance of inner shadows, the ability to navigate emotions such as pain, anger, loss and the destruction of old structures to be reborn stronger. Lilith in mythology and the archetype of the Goddess Kali in Hindu tradition are examples of this dark feminine force. Dark Femininity is a concept that combines sensuality and self-empowerment, it is part of trends on social media and films that have been popular and placed in reality in a distorted way. Dark Femininity is considered "the shadow side of the feminine", which includes characteristics that are suppressed in the face of social expectations. Aesthetically, Dark Femininity is an "energy" that is capable of being more assertive, being fearless, being mysterious, being seductive, embracing your inner wisdom and instincts, acting with intention and with magnetic confidence, being firm in your decisions and among others behaviors. Dark Femininity went viral on social media as an aesthetic that understands the opposite side of the feminine. Combining this phenomenon with astrology, the Dark Femininity is best known as a suppression of the divine feminine, but today this archetype is more associated with the process of healing, transformation and integration of personal shadows, rather than just the dark side of emotions and behaviors. For this energy to ascend, the primary energy of the feminine (the Moon) must be contained, weak, debilitated. So, the Dark Femininity, which previously had no name, is much more than an aesthetic of wearing black and being a Femme Fatale, Meneater, Bombsheell and among other stereotypes of non-submissive women.

When the Moon is in the 3rd and 10th degrees of Scorpio, a sign ruled by Mars and Rahu, associated with transformation, emotional intensity, mysteries, fears and extreme situations, there is an incompatibility between the soft nurturing emotional nature of the Moon and the turbulent Scorpio. The Moon needs peace and stability to thrive and in Scorpio it feels overwhelmed by intensity and trauma, which can generate emotional instability and a feeling of vulnerability. The processes of transformation and rebirth are also harmful to the Moon, so she feels uncomfortable as if she is always in an emotional crisis or transition. The need for control when the Moon is in Scorpio (especially in Anurhadha, which is ruled by Saturn) can generate conflicts and other complications in social interactions. Although people with the Moon in Scorpio may have a keen intuition due to their high connection with the unconscious, this ability can be overshadowed due to its intensity. This makes it difficult to make clear judgment and make impulsive decisions, especially in emotional situations. Vishakha in its final portion begins to feel this debilitation, as we are leaving Libra (ruled by Venus, a planet in harmony with the Moon). This nakshatra governs the balance between light and shadow and is aimed at ambition that faces internal conflicts. The Dark Feminine is accessed through a deep search for personal power and independence that is often accompanied by challenges in relationships and feelings. Vishakha connects the dark femininity through the desire for transformation and evolution, sometimes needing to face inner shadows: such as jealousy, possessiveness and obsession. This forces the native to confront their darker side to achieve emotional and spiritual prosperity. Anuradha in its initial up to the 10th degree is where the main weakening of the Moon occurs, however it can begin to recover as soon as it moves to higher degrees. This nakshatra governs loyalty and devotion and its access to the dark feminine is more intuitive and emotional. Anuradha, ruled by Saturn, has a strong connection with the feminine archetype that sacrifices and transforms itself through devotion. The femininity dark side emerges when these qualities are tested by situations involving loss and disappointment. Here, the dark feminine is accessed by accepting pain, overcoming limits and the ability to be reborn stronger after emotional and relational crises. There is immense power in embracing suffering as part of the spiritual journey, which deepens the dark femininity. Contrary to what many think and would like, the Moon in Jyeshtha is no longer considered debilitated, that is, they do not embrace the Dark Feminine side, as this nakshatra governs superiority and control over the environment, which makes it more associated with mastery. emotional and spiritual than to the dark feminine archetype in its narrowest sense. It is associated more with the responsibility and protection of the divine feminine.

So it is also believed that all nakshatras ruled by Mercury exude the Dark Femininity vibe, but this does not occur. They are often associated with the archetype for their mystical, occult and complex characteristics, but they can no longer be seen exclusively as representatives of this archetype for some reasons linked to the most correct interpretation and evolution of Vedic astrology. I made maps of several people who had Revati and especially Ashlesha and Jyeshtha and they don't behave the same as Dark Femininity. A person already came to my Twitter and told me that he did not identify with his rashi Ashlesha because of the stereotypes recorded in this nakshatra. Let's agree that these cannot harm the lunar energy, on the contrary, they are constantly using the emotional (moon) and intellect (mercury). In Ashlesha there is deep psychological understanding and it is obvious that natives of this nakshatra are exalted in the Moon, as it is a nakshatra that belongs to the sign of Cancer, which is ruled by the Moon itself. Ashlesha represents the feminine archetype of hidden strength. Despite connotations of mystery and control, it also symbolizes deep healing and transformation through "emotional poison". The concept of dark feminine goes beyond manipulation and control, to include a feminine energy that heals through facing one's own shadows, a more evolutionary and integrative quality of Ashlesha. Women with the Moon in Jyeshtha often access their feminine by taking control of situations and becoming figures of influence. When the Moon is in a nakshatra ruled by Mercury, there is no impediment to accessing the primary feminine energy, what happens is that they usually tend to be more controlling and end up suppressing feelings and emotions, since we are also talking about Mercury and so this mind has the power to control the Moon's emotions, but is not able to suppress its feminine energy. Therefore, the reason why these nakshatras may no longer be considered exclusively representatives of the dark feminine lies in a broader and more complex interpretation of the archetype. It is no longer about the dark side of femininity energies, but how these energies can be transformed, healed and used for spiritual and emotional evolution.

And when does the Moon meet Rahu? Rahu is a shadow planet that is associated with material ambitions and karmic influences. Whether the Moon has Rahu nakshatras or is in conjunction with this planet, there can be emotional upheaval and internal conflicts that can cause insecurities and desires. When Rahu associates with the Moon, it brings mental confusion, intense desires and disconnections with reality, bringing a layer of emotional restlessness, distorting emotional clarity and creating a constant search for satisfaction that is often difficult to achieve. The Moon represents our emotional security, and when Rahu influences, the native may have a distorted self-image. There may be deep insecurity and difficulty understanding your own emotions. Ardra has a destructive and tempestuous energy. When the Moon is in Ardra, the person can feel intense emotions, drastic changes in mood and a certain emotional instability. This energy can generate a feeling of anger or internal frustration, which makes it difficult for a person to connect smoothly and fluidly with their feminine energy. Ardra brings an energy of renewal through destruction, which can make it difficult to connect with the feminine side that seeks harmony and nourishment. Women with the Moon in Ardra access their dark femininity by navigating intense emotions such as anger, sadness and frustration, using these forces as agents of transformation and growth. Ardra represents the feminine side that embraces pain and chaos as tools to find clarity and renewal. Just like a storm, they bring destruction, but also the opportunity for reconstruction. Shatabhisha, ruled by Rahu, is a mysterious nakshatra, associated with isolation and emotional detachment. When the Moon is here, there can be a strong tendency toward emotional isolation or an excessive quest for independence, which can suppress the need for intimacy, connection, and nurturing. This influence makes it difficult to express the softness and receptivity typical of feminine energy, as the person may feel that they need to maintain their autonomy and control their emotions. The woman with the Moon in Shatabhisha can manifest her dark femininity through her connection with the invisible, healing herself and others with hidden wisdom. Shatabhisha deals with secrets and mysteries, representing the mystical healer who hides in the shadows but holds a profound power of transformation. This nakshatra embodies dark wisdom and healing through unconventional or occult methods.

The Moon with a connection to Saturn (planet and sign) can also give a strong connection with the dark femininity, especially in terms of emotional depth, psychological challenges and internal transformation processes. This combination brings insight and experiences of suffering or restriction that shape the darker side of the psyche. Saturn represents limits, restrictions and difficult lessons. When in contact with the Moon, which governs emotions, the subconscious mind and intuition, Saturn can bring a heavier, more serious and introspective emotional nature, forcing the individual to confront their shadows. This creates a scenario in which the feminine, represented by the Moon, has to deal with the limitations of Saturn. This combination can generate a feminine energy that faces difficulties, emotional isolation and even loneliness, but finds strength in the midst of these challenges. The dark femininity appears as an internal resilience, an ability to face emotional pain and transform it into wisdom. When Saturn influences the Moon, emotions are forced to mature and the individual may feel a tendency to suppress their feelings. This emotional comfort is a characteristic of the dark feminine, which involves recognition and acceptance of pain and shadow. The dark femininity can be activated here as a deep healing process through emotional darkness and the strength of not showing off emotionally, but which has a strong base rooted in difficult experiences. As Saturn rules time, the Moon with Saturn brings wisdom of life stages and emotional cycles. The dark Femininity, in this case, is not something to be avoided, but rather something that is part of the natural cycle of life. Saturn teaches emotional transformation and encounters with the shadow are inevitable and necessary for growth. The dark feminine can be activated during these cycles of loss, introspection and renewal.

[houserautha]

These Destined Ends

Part Fourteen

Summary: Jessica fulfilled the wishes of the Bene Gesserits to produce a daughter. You’re now burdened with the task of not only marrying the na-Baron, but also bearing his child — the Kwisatz Haderach. Will you take your fate into your own hands? Or will it always belong to those who control you?

Pairings: Feyd-Rautha x F!Reader

Word Count: 4.8k

Warnings: and they were cousins, poison, brief descriptions of violence and death

A/N: Thank you to everyone for being patient with me while I slowly update TDE🥺❤️‍🩹 Hopefully this chapter was worth it, I apologize beforehand for the lack of smut and the abundance of plot

You stare at the document in your hands, realization trickling in slowly, then with more force — a dam eroding before the subsequent flood. The longer you look at it the more the words and symbols swim before your eyes. How could this be? Had Jessica known about this?

She had to have, you puzzle, if it was in the study. Why didn’t she tell you? Could it be that she just never got the chance?

Or was she hiding it?

“You could at least look a little bit excited to see me.”

“Oh, Asha, I —” the content of the document promptly vanishes from your mind as it works instead to compute the image of Asha standing in the doorway of the study. “Asha!”

A shriek tears from you and you race across the room to your friend, embracing her tightly. She laughs against you. “There’s the welcome that I was expecting.”

“I’m sorry, I — actually, it doesn’t matter. What are you doing here? I wasn’t expecting you until tomorrow.” You hold her at arms length, examining her to make sure that she looks healthy and unharmed. “Are they treating you well?”

“The servants went sent ahead to prepare the rooms,” Asha says. “And I’m fine. How are you? Am I an aunt yet?”

There’s nothing you can do to suppress your eye roll, but you squeeze her hand assuringly. “You’ll be the first person to know.”

“Mm. The na-Baron needs to get on it.”

“Get on what?”

“Me,” you say. At the same time, Asha blurts, “Nothing!”

Feyd has replaced Asha in the doorway. He looks unfairly handsome, his skin retaining a little more color than usual from the Arrakis suns. Well, a red color, one that you’ve assurred him would fade.

Probably.

Seeing him makes your stomach flip. You’ve left the document out on the desk, and you glance at it quickly. But if he picks up on your panic, he doesn’t mention it.

“I suspected it was you when I heard all of the shrieking,” Feyd says. Then, this time to Asha, “I’m glad that you’re here.”

“Thank you, na-Baron,” Asha says with a dip of her chin.

“Do you need something?” You ask him. As casually as you can, you return to the desk and slip the document into your pocket.

Feyd’s lips twitch. “Can a husband not just visit his wife?”

“A husband can,” you retort, “but I have the sense that you are here as the na-Baron. Not my husband.”

“Is there a difference?”

You look to Asha. “I’ll be right back,” you promise her. Not daring to say anything in front of Feyd, she nods. You trail after Feyd into the hallway, who sets a swift pace, striding away from the study and out of ear shot.

“There’s a problem,” he tells you in a hushed tone.

“Other than the fact that you just stole me away as soon as my best friend arrived?”

Feyd ignores this. “My brother has generously invited Irulan and her family to the feast tomorrow night.”

“What?”

“The Emperor has declined the invitation but Irulan has elected to attend. Even though her father won’t be there, I suspect he’ll send an army of reinforcements for her.”

You mull over this new information. Both of you fall silent as a pair of soldiers pass by, then you whisper, “Could they suspect our plan?”

“No. Impossible.” Feyd shakes his head. “I’m sure the Baron just wants to remind House Corrino of their hand in…this.” He waves his hand to encompass the palace as you walk through it.

“Dethroning my family by having them killed?”

Feyd stops and pivots to you, grabbing your wrist. “I haven’t forgotten. But neither have they. We must keep our wits about us if we hope to be successful.”

“Right. I know.” You free yourself from his grip.

“You can’t let your emotions distract you.”

“They won’t.”

Feyd inspects your face, and he’s quiet for quite some time. “You’re hiding something from me.”

“No I’m not,” you reply reflexively. Feyd raises a brow. A scowl crosses your features and, reluctantly, you ask him, “What do you know of my…lineage?”

“I told you, you must not —”

“Just answer the question,” you snap. He’s acting as if you’re a petulant child, liable to pitch a fit.

Feyd recites what he knows, what you’ve told him — how your mother’s parents were never revealed to her. His mouth forms a severe line. “Why?”

There’s a fleeting moment in which you debate whether or not you’ll share the information with him. Ultimately, you know that you will never be able to keep it a secret. With hesitance you draw the document from your pocket and give it to him. Feyd’s eyes flash curiously to yours then back to the paper before reading it.

His expression remains unchanged. He hands the paper back to you. “I’m not surprised.”

“You’re not surprised?”

You were cousins. Cousins.

“I didn’t know, obviously,” he says, his voice nearing a growl. Then something in him softens slightly. “I’m referencing the inexplicable…connection that I have always felt. That you must’ve felt. Our hearts knew the same blood ran in our veins before our minds did.”

“You’re okay with this?” You ask.

Feyd lifts a shoulder, diplomatic as ever. “It is not unheard of. Besides, I am too entranced with you to let this affect me. If anything it just cements the bond that we have.”

He draws you close to him, his chin resting on the top of your head. You find comfort in the pulse of his heart under your ear, the familiar scent that you’ve associated with him. “You are me,” he says finally.

You smile softly. “And I am you.”

Late into the evening you help Asha with prepping for your esteemed guests, working alongside the other servants and sneaking sips of the spice wine. They’re unsure of you, at first, but Asha quickly puts them at ease with a few unflattering anecdotes. You laugh with them. It’s been too long of a time since you’ve really laughed, spent time with people who didn’t have any expectations of you except the ones that Asha dashed — you were not quite as scary as you looked, and you did not lash out at others at the slightest provocation.

“You’re confusing me for my husband,” you told them then, to weary laughter. You might not have been a threat to them, but they were all afraid of Feyd-Rautha. Understandably.

It’s a nice reprieve until you awake the next morning with a twinge of a spice headache and a spiraling sense of doom. What if your pain failed? What if something happened to you — or Feyd?

“Quit it.”

You’re sitting on the edge of the bed, draped in your finest dress. Feyd stands before the vanity and you watch him slip the Gom Jabbar into a hidden compartment in his sleeve. “Quit what?” You ask, fear tightening your chest.

“Worrying,” he says.

You meet his eyes in the mirror. A protest forms on your tongue but you know it would be futile to pretend that you aren’t worrying considering that he knows every subtle change in your expression. When you fail to reply, he turns to you, straightening out the cuffs of his smart jacket.

“Everything will be fine,” he tells you.

“You don’t know that.”

“I have never made a habit of being wrong.”

You fix him with an exasperated look. “We have no idea how this is going to play out.”

“We’re going to take back control from the hands of our oppressors,” Feyd says, his rasping voice like a lullaby. His long stride devours the space between you until he’s positioned himself practically between your legs. “We will finally take what we deserve.”

“I know. I know,” you say again with more conviction. You roll your shoulders back and try to emulate some of Feyd’s unwavering confidence, but he hardly looks convinced.

Gazing down at you, Feyd brushes his knuckles over the bannister of your cheek. “No harm will come to you. I won’t allow it.”

“And I won’t allow any harm to come to you.”

His hand pauses. Feyd’s thumb and forefinger captures your chin, lifts it up. “Promise me that you will not jeopardize your safety for mine.”

Not for the first time, you admire the angles of his face — the smooth brow, the dark eyes looking down at you over his straight nose; the plush lips that you cannot look at without picturing them over your most sensitive parts. Your heart pangs. You would do anything for him.

You tell him in an equally soft tone, “I can’t promise you that.”

“You must.” His grip on your chin tightens.

“We’ve already established that you are my blood. My past, my future,” you whisper fervently to him, brave in the face of his obvious disapproval, “if the moment comes to it I would lay down my life to protect yours.”

Feyd leans down. His mouth slants over yours, a phantom of a kiss. “Then you’re a fool,” he breathes, words chilling you.

“So be it.”

Feyd releases his grasp on you, stealing the air from your lungs. Even the faintest touch of his leaves you wanting more.

“Come,” he says, holding out his arm, “my foolish wife. We have guests to receive.”

Glowglobes dance over your heads as you venture, arm in arm, to the front of the palace. No one has been permitted to enter without the na-Baron and na-Baroness and at your arrival begin to trickle in slowly, each guest stopping to greet you and praise you for your hospitality.

A few stop to ponder at the lack of wash troughs but after a series of dead-end interactions with Feyd cease to ask. It wasn’t a popular choice among the Arrakis staff, you had learned from your previous stay that they liked to sell the towels from which cleaned up the mess from the troughs. Your Harkonnen guest frown on this as well. Even Feyd was skeptical about your insistence on removing the tradition, but he supported you regardless, and you couldn’t be more pleased by your decision.

Water was sacred here and you would not flaunt your access to it, not even to those who had never had to safe keep it.

It’s difficult to maintain the smile on your face as you welcome noblemen and bankers, wealthy businessmen, and even the occasional individual that you sense dabbled in the more seedy side of entrepreneurship. The duel suns have just started to set when you notice a familiar dark shape approaching you.

“Uncle,” Feyd greets the Baron.

“Feyd-Rautha, na-Baroness.” His voice slips over you like grease and his eyes are even more beady than you remember. Your grandfather. “It is good to see you again and to celebrate your victory.”

“Indeed,” you reply, not meaning it in the least.

From behind the Baron, his suspenders whirring with the effort of lifting him, emerge Rabban, clutching the wrist of one of the most beautiful women you have ever seen. Her dress gives the appearance of armor but still impressively elegant, blonde hair slicked back and green eyes latching onto you immediately.

“Princess Irulan,” Rabban says. “Though she hardly needs an introduction.”

“It’s a pleasure,” you say, curtsying.

Irulan smiles wistfully at you. “There is no need for that. We are destined to be family, after all.”

“My apologies,” Feyd retorts.

“Don’t mind him,” the Baron directs at the princess. One of his massive hands clamps down on Feyd’s shoulders, a gesture that you do not mistake for anything less than threatening. “He jests as all brothers do.”

“I understand,” Irulan says with a melodious laugh. Though as the five of you take to joining the rest of the party (along with Irulan's small army of guards), you can’t help but notice the way she glances at you. You have trouble deciphering the look but it slips from your mind after another session of small talk before the first course is served.

The table has just been set with plates of all sorts of delicacies when you feel a small hand grab you. Bodies press against you as guests hurry to claim the most coveted seats at the table. A chord of surprise is struck in you when you realize that the hand is not that of someone hoping to steady themselves amongst the sea of bodies but, rather, the intentional grip of Princess Irulan.

“We must talk,” she says. “It’s not every day that you find yourself in a situation like the one we have both been put in.”

“Did you not think your father would arrange your marriage?” You ask stiffly.

Something reminds you that Irulan is studying to be a Bene Gesserit, a feat that you could never hope to accomplish. You have to admit that it’s admirable. But the less tolerant side of you resents her for it.

“I could never hope for that, much like you were unable,” Irulan says. “I meant in the nature of being engaged to Harkonnens.”

“Oh.”

Distractedly you let your eyes wander until they fall on Feyd, who is sitting in his place at the head of the table and entertaining a small audience. Rabban, on the other hand, glowers at the food heaped on his plate, fork gripped in his fist as if he wants to launch it at someone.

“Do you have any wisdom to impart?” Irulan asks.

“I’m still trying to learn myself,” you tell her. “The Harkonnens are a…unique people.”

Irulan leans closer to you. “Is Feyd-Rautha as psychotic as they say?”

“Even more,” you say in interest of feeding the rumors. They weren’t wrong, of course, but you could hardly consider him as such when it was Irulan’s own betrothed who worried you.

And they both had a hand in your family’s deaths.

Before you can say anything to this effect, however, Feyd beckons you to the table. You smile at Irulan placatingly — the expression of a wife under her husband’s control — then find your place beside him. Irulan sits down on the other side of Rabban. Is she still staring at you?

You can’t help but feel as you did when Jessica would scrutinize you, analyzing your every move and word. It unsettles you.

The dinner starts without a hitch. You do your best to move the food on your plate around convincingly and avoid Irulan’s gaze. Everyone seems content to listen to Feyd’s stories about dismantling the spice smugglers, though, which leaves you mostly adrift with your thoughts. In fact, you’re so surprised when someone speaks to you that it takes several moments for you to compose an answer.

“Pardon my niece,” the Baron interjects with a sickening smile. “She certainly has a lot on her mind. Arrakis is grueling for even the weakest of individuals, though she’s had experience with it before.”

The noblemen who spoke to you nods. “That’s right. You’re of House Atreides. My condolences about your parents. Duke Leto was a magnificent man.”

“If only other men were possessed of such magnificence,” you mutter in reply, angrily spearing a vegetable on your plate. You shoot a glare at the Baron. “My father inspired cowardice in those who could not even hope to compete with him.”

“True cowardice lies in refusing to admit when you’ve been beat,” the Baron says coolly. He licks sauce from his thumb.

You stare back evenly at him. “You would know about true cowardice.”

The nobleman stuck between you both clears his throat awkwardly and drains the rest of his glass. Conversation swells again and thankfully diverts the topic of your family, and as the dinner transpires you’re itching to enact your plan. Finally dessert is cleared and after-dinner drinks are set before all of the guests.

Feyd rises to his feet and draws the attention of the room, holding up his flute to indicate a toast.

You stand, too, and smile endearingly at him.

“Tonight we have gathered to celebrate the prosperity of the House Harkonnen,” he rasps. “In the face of adversity we have yet again come out the victors on the other side.” This is met by a small smattering of applause. Feyd continues, “Of course, where would we be without our patriarch? The Baron has…provided for us for many years. I can only hope to return the favor.”

Feyd and you both drink from your glasses, as do the rest of the party.

It takes only a few seconds for panic to arise.

While you and Feyd gaze out contentedly at your guest, they find themselves paralyzed and unable to move a muscle. It’s a temporary poison — it won’t last longer than a few minutes — but it’s one that you both have acclimated to. You are free to round the table to Rabban at the same time that Feyd strides to his uncle on the other side.

You pull the Gom Jabbar from your corset. Every Noble House is in possession of one, which is why Feyd also had to steal his own. In a movement that seems almost choreographed, you and your husband bring the needles up to the necks of your prisoners. Adrenaline soars through you.

“It was always going to end like this between us,” Feyd murmurs almost lovingly to the Baron. He brushes his finger down his uncle’s face.

You turn your attention to Rabban. Although he cannot move, the muscles in his eyes strain to glare at you. You hold the needle just centimeters from his skin. “I will give you the same mercy you gave my family,” you whisper. “None.”

“STOP!”

Time ceases to move as, from your peripheral, you watch Irulan shoot to her feet. You’re unable to refuse the call of The Voice, and you’re rendered as paralyzed as the guests who drank from their poisoned glasses.

Which, apparently, the princess had not.

“You two are both fools,” she hisses. Her fingers form claws at her sides. “Did you not think I would notice what you were doing? That I would let you unravel the hard work of my father?”

Using The Voice, she orders you to drop the needles. They clatter to the ground.

You manage a glance in Feyd’s direction. His expression is grim, jaw clenched and eyes burning with rage at having been thwarted. Out of all of the outcomes of this evening, you hadn’t expected this to be one of them. A leaden feeling fills your entire body.

Irulan holds you, frozen, until she can call her father’s guards into the room and command them to seize you for treason.

“Irulan, please,” you beg her once liberated of her hold over you.

She simply gazes at you with contempt.

Guards descend on the room without warning and, without any verbal agreement, you and Feyd do your best to fend off wave after wave of them. They drop like flies, but there’s too many of them for you both to dispatch. You step and whirl over fallen bodies as you fend off the guards with nothing but a butter knife, the Gom Jabbar having been the first thing the guards kicked out of your grasp.

“We have to get out,” Feyd snaps at you. He throws a punch over your shoulder, hitting a guard and giving you enough time to spin and kick the offender in the gut. “Now.”

You pant, “Where?”

Irulan was tending to Rabban, who had stirred and was glaring murderously at you as he waited for the rest of his body to cooperate. The Baron simply stared from his seat. You had no idea if he was fully awake or not, but you didn’t want to wait for the punishment he fettered out.

“Here.” Feyd pushes a torn up napkin into your hands and demonstrates his intention by forcing them deep into his ears.

You quickly do the same. If you can’t hear Irulan, then the Voice won’t work on you.

Right?

It seemed as good a plan as any. Like a conjoined beast, you and Feyd tear through the swarm of guards like cutting through tall wheat. Blood splattered his face and his knuckles had broken open — you were sure you looked just as deranged, hair loosened from its pins and dress ripped from where a guard had taken hold to try and stop you. You had promptly struck him in the head with your foot, knocking him out and releasing his grip on you.

A roar from behind alerts you to bigger troubles. Rabban staggers after you, face reddened.

“Y/N!” Asha cries. You’ve made it to one of the adjoining hallways, and she latches onto your arm, pulling you towards her.

“Asha, no —”

“Go! Take her!” Feyd yells.

You wrench yourself free from Asha but Feyd has already been swallowed up by a wall of guards. A keening sound escapes you. You try to push yourself back but Asha won’t let you. “No, Feyd! Feyd!”

“He made me promise that I would help you escape,” Asha tells you, panicked. “Come on.”

“I won’t leave him.”

Asha tugs your arm. “I doubt he will be able to tolerate being apart from you for very long. But he will not tolerate it if I let anything happen to you.”

A guard with a lasgun splits from the dining room towards you and Asha and, with one more prompt from her, you take off running in the opposite direction, tears of frustration streaming down your face. The lasgun fires off two rounds, narrowly missing you. You pump your legs as fast as they will go, completely disconnected from the task at hand as you remember the image of Feyd interlocking with Rabban before he was obscured from your view by the guards. Would even your husband be able to escape such force?

“Turn here,” Asha instructs, your feet thundering loudly on the polished floors. She turns and thrusts you into a segment of the wall that has fallen away, moving swiftly to replace it. Stupidly, you hover, ensuring that you’re not being followed. The sound of the guard’s heavy breathing passes by you, then disappears. Asha turns to you, her face in shadows. “Move.”

Once you’re safely away from the door, tunneling through a narrow passageway, you ask her, “Where are we?”

“Abandoned servants halls. They used to use them to travel through the palace without being detected.”

A rush of adrenaline keeps you moving. You trail after Asha as she guides you through the winding passage, relying only on touch to navigate. You can barely even lift your arms at your sides without touching the walls, and its pitch black, no glowglobes to light your way. There’s no saying how far you go until Asha is grunting and pushing her shoulder up against another segment of wall.

You blink rapidly as you encounter a burst of light and the grit of sand on your tongue. Somehow you’ve bypassed most of the palace for the hangar. It’s shaded by an awning but open on one side to the harsh elements.

“Come on, we don’t have much time. If they’re smart they’ll know where we’re going.”

Asha leads you to one of the idle thopters. “I have no idea how to pilot one of these,” you say, alarmed.

“It’s been preprogrammed to at least get you out of Arraneen,” Asha says. “The rest is up to you. It’s not hard. This is the throttle—” she points to a lever, then another, “and this is the clutch.”

“I —” the words die in your throat.

I, what? Can’t land this thing? Can’t believe this is happening? Can’t leave without Feyd?

“Come with us. They’ll kill you if they find out you helped us,” you say instead.

Asha shakes her head. “There’s no room.”

“Asha —”

Your friend, her own tears in her eyes, pushes away your reaching hand. She ducks her head to check a watch-apparatus from her pocket. “The na-Baron should be here soon. If he’s not, he instructed me to force you to leave without him.”

You growl, “Nothing you can say will keep me from him.”

As if the universe felt personally challenged by this, the sounds of lasguns going off reverberate through the hangar. Asha and you both look towards the entrance, where Feyd can be seen sprinting from a group of guards. A scream climbs in your chest, bubbling with fear, as you watch him swerve and dodge to avoid the blasts.

“Feyd!” You cry.

His eyes lock on you and, seemingly emboldened, cycles his legs faster, outrunning the guards in their clumsy uniforms.

“Y/N, start the thopter!” Asha yells. She indicates a button on the mantle of the ship and you hastily press it, the bug-like wings snapping to life and kicking up sand in the hangar.

Feyd skids to a stop beside the thopter. A blast fires off, singing the mechanical flank of the ship. He uses his body as a shield for Asha. “Come with us,” he tells her, echoing you. Sweat and blood mingle on his face and his clothes.

“No. It’s too late. Go!” Asha all but shoves him into the thopter, crying out as another blast lands at her feet. With Feyd’s broad form next to yours, there’s truly no room for Asha unless she wanted to be smashed against the windshield. Feyd takes over the controls from you.

The thopter door closes right as the guards reach it, already jerking Asha into their grip.

You howl and scream in disbelief, pounding at the doors of the thopter from the inside as it launches into the air. Feyd hovers slightly before yanking on the throttle and piloting the thopter out of the hangar. “No, no, no!” Asha’s tiny frame is dwarfed by the guards, then by distance.

“Y/N, there’s nothing we can do now. She sacrificed herself for us. Let’s not put it to waste,” Feyd snarls at you.

You swipe tears and makeup from your face. Something inside you hardens, and you push down your anguish in order to focus on your escape. Feyd is a talented flyer, but it’s nothing compared to the league of thopters and ships encroaching in the distance. Worry clamps down on you like the jaws of a sandworm.

Arrakeen blurs beneath you as Feyd soars over it, the body of the thopter casting shadows over the buildings. You’ve nearly reached the shield wall when a shot collides with the thopter and sends it staggering to one side. Feyd curses. The Emperor’s ships have caught up with you. You grip your armrests, eyes widening as you watch the ships grow larger and larger in the rearview mirror. Feyd eases your ship through a small opening in the shimmering shield wall, effectively preventing any of the large ships from following.

More shots ring out, pinging off your thopter.

“What are we going to do?” Feyd’s dark gaze flickers behind you, then back to the desert unfolding before you. It’s then that you see it — a storm. “Feyd, did you get hit in the head? We can’t go into a sandstorm.”

“It’s our only option,” he grits out.

You want to protest, to persist that there’s another way, but you have no answer. Feyd forces the throttle of the ship down as far as it will go, the wings fluttering almost imperceptibly as he urges them to go as fast as possible. Pain explodes in your head when a blast hits the side of the thopter and you’re thrown against the inner wall; much like the pain, a fiery explosion erupts outside your window.

“Fuck! They shot off one of the engines,” Feyd yells over the clamor of the thopter stalling. Teeth gritting, he swoops it out of its downward spiral and back into the air. “We just have to make it to the storm. They won’t follow us.”

Giant columns of smoke billow from the decimated engine, the right wing also engulfed in flames. The thopters chugs along awkwardly, dipping and faltering as Feyd does his best to keep it in the air, relying on the gusts of wind from the oncoming storm. Your stomach churns.

And, quite literally jumping from one problem to the next, the storm seizes upon your thopter with furious force. From all sides you’re battered by wind and currents of sand and rocks, sounding like you were being pelted with boulders on all sides. You realize too late that the screaming you hear is from you. Feyd battles against the storm but at this point he’s at its terrible mercy, both of you being tossed around with no sense of control.

There’s a split second when you catch a glimpse of fear on Feyd’s face — the first time you’ve ever seen it — before another blast rockets into the thopter. One of the ships had followed you.

Flames converge with the whipping sand and an alarm starts wailing as the thopter plummets to the ground. Well, logical leads you to believe that it’s the ground, there’s no way of telling which direction you’re going.

Feyd releases himself from his seat’s harness and crosses over the console, throwing his body over yours right as the ship collides with something solid and everything goes black.

Part Fifteen

Taglist:

@moonsoulk @heartarianagran @torchbearerkyle @unicoreads @taleah @mamawiggers1980 @jovialeggsbailiffsoul @harkonnin @avidreader73 @unicorntrooper @beebeechaos @kamcrazy123 @wo-ming-bai @m-indkiller @kpopnstarwars @dacreshoney @stopeatread @the-na-baroness @therealslimshady-1 @unnisumi @aoi-targaryen

[thejournallo]

Witchy hacks: The movement of your body.

You probably heard this phrase too many times, but it is important to keep your body moving not only to increase your physical health but to improve your mental health too. But there is more. The movement that our body can make can actually release energy, and it can give us a lot of boosts in many ways.

In spirituality, movement is often seen as a way to release, channel, and harmonize energy within the body. Different spiritual traditions and practices emphasize various types of movement to achieve these goals. Here are some ways energy is believed to be released through movement in spirituality:

1. Yoga

a. Asanas (Postures)

Energy Flow: Yoga postures are designed to open energy channels (nadis) and centers (chakras) in the body. This facilitates the free flow of prana, or life force, enhancing physical and spiritual well-being.

Grounding and Balance: Specific poses help ground the practitioner and balance the flow of energy, aligning the body with the earth and promoting inner stability.

b. Pranayama (Breath Control)

Breath and Movement Coordination: Coordinating breath with movement helps regulate and release energy, purifying the body and calming the mind.

2. Tai Chi and Qigong

Chi (Qi) Flow: These ancient Chinese practices focus on slow, deliberate movements combined with deep breathing to cultivate and balance chi, the body's vital energy.

Energy Circulation: Movements are designed to enhance the circulation of chi through the meridians, or energy pathways, removing blockages and promoting overall health.

3. Dance

a. Ecstatic Dance

Expression and Release: Ecstatic dance involves spontaneous, freeform movement that allows individuals to express emotions and release pent-up energy. It’s often accompanied by rhythmic music that guides the flow of energy.

Trance States: The repetitive nature of dance can induce trance states, facilitating a deeper connection with the spiritual self and the collective energy of the group.

b. Cultural and Ritual Dance

Ceremonial Movements: Many cultures incorporate dance into spiritual rituals to honor deities, celebrate life events, and connect with ancestors. These movements are often symbolic, representing the flow of spiritual energy.

4. Martial Arts

Energy Control: Martial arts like Aikido, Kung Fu, and Capoeira involve movements that cultivate and direct internal energy. Practitioners learn to harness this energy for physical strength, mental clarity, and spiritual growth.

Mind-Body Connection: The discipline and focus required in martial arts enhance the mind-body connection, aligning physical actions with spiritual intent.

5. Breathwork and Movement

Holotropic Breathwork: This practice combines intense breathing with movement to access altered states of consciousness and release stored emotional energy.

Rebirthing: Involves rhythmic breathing and movement to release traumas and blocked energy from the body, leading to spiritual healing and transformation.

6. Shamanic Practices

Drumming and Movement: Shamanic traditions often use rhythmic drumming and dance to enter trance states, journeying into spiritual realms to retrieve knowledge and healing.

Ritual Movements: Specific movements in shamanic rituals are designed to summon, direct, and release spiritual energy for healing and transformation.

7. Meditative Movement

Walking Meditation: This practice involves slow, deliberate steps coordinated with breathing, enhancing mindfulness and the flow of spiritual energy.

Dynamic Meditation: Developed by Osho, this form combines vigorous movement, including shaking and dancing, with periods of stillness to release suppressed emotions and awaken spiritual energy.

Summary

In spirituality, movement is a powerful tool for releasing, channeling, and harmonizing energy. Practices like yoga, tai chi, dance, martial arts, breathwork, and shamanic rituals use specific movements to enhance the flow of spiritual energy, promote healing, and achieve higher states of consciousness. These practices underscore the profound connection between physical movement and spiritual well-being.

[queenshelby]

Our Little Secret (Part 56)

Pairing: Cillian Murphy x Reader

Warning: Infidelity, Age-Gap, Triggers, Smut

Days later...

On the day of Siobhan's wedding, the article came out and whilst you seemingly didn't care about the allegations anymore, Cillian did. 

He was rather upset about the content of the article that the Irish Times had released and his friends picked up on his mood right away.

"Cill, it's just some bullshit story, alright?  It won't matter much to anyone really," Dermont said, patting Cillian on the back as they were waiting for the groom to take his place at the alter.

"Yeah, man, it's just gossip and hearsay. And, the stuff with Y/N had been dragged through the press so many times already. It's really nothing new," another one of his friends added, seeing how the article also mentioned the affair you had with Cillian while he was married to Danielle again in great detail. 

Cillian nodded silently and tried to put on a brave face, but it was clear to everyone around, especially to his best friend Dermont, that he was angry about what was being written about him.

" I don't know why these people keep digging up shit like this," Cillian muttered, running a hand through his hair. "And the worst of it is that the majority of these allegations and rumors aren't even true. There is no substance to it. It's all made up," he added just before Dermont placed a reassuring hand on his shoulder again and squeezed it gently.

"Cills, just let it go, alright? It's your sister's big day today, and she deserves to have her brother by her side, happy and smiling," Dermont told his friend and Cillian took a deep breath and let it out slowly.

"You're right," he said just before the groom finally made an appearance, causing everyone to shift their attention away from Cillian.

Together with the groom, the men made their way to where they should be standing, near the alter and took their places, before finally the bridesmaids and Siobhan's friends walked in, taking their seats in the front row. 

It was then that Cillian first noticed you and the dress you were wearing, which brought back memories, most of which were somewhat unpleasant for him, dampening his mood even further. 

You wore that very same dress that you wore to the Oscars a few months ago when you found out that Cillian had cheated on you. It was the dress you wore when you broke up with him, the dress that symbolized the end of your relationship, and it was the dress that you now wore again for a different event - for the upcoming nuptials of his sister, Siobhan. 

Seeing you like this, seemingly unbothered and happy, caused Cillian to sigh deeply. He did not know what to make of this choice of attire, but quickly brushed it off as the ceremony began.

As he watched his sister walk down the aisle, Cillian couldn't help but think about the past few months. It had been a whirlwind of emotions - from the excitement of winning an Oscar to the crushing heartbreak of losing you.

He had tried to move on, he really had, but every time he saw you, it was like a punch to the gut. And now, with this article and your appearance, in that very dress, it was like a never-ending cycle of pain.

Cillian clenched his fists, trying to push away the anger and hurt that threatened to consume him all so suddenly after he had suppressed these feelings for too long. He had to, for Mara's sake, but today, somehow, it all became too much. 

The ceremony went on, and soon enough, it was time for the vows. Siobhan spoke beautifully, and the groom was clearly touched. They exchanged rings, and when they were pronounced husband and wife, everyone clapped and cheered.

Then, the newlyweds made their way back down the aisle, happy and in love, marking the end of the ceremony and the beginning of a big party at a venue nearby. 

Seeing the joy written across Siobhan's face and the love reflected in her groom's, Cillian felt a twinge of envy and a deeper emotion, one that he hadn't felt in a long time—loneliness. And somehow he knew that you were still the key to it all. A life with you and his daughter was what he wanted, but he also knew that you did no longer want the same. 

Just after you got up from your seat, Cillian approached you, stopping you in your tracks. 

"Hey," he said, his voice low, greeting you for the first time that day. 

"Hello, Cillian," you replied, your voice equally low.

He looked at you for a moment, studying you. You looked as beautiful as ever, if not more so and, yet, he disliked the fact that you wore that dress. 

"How is Mara? You said she started teething again," he asked, trying to keep the conversation light as his gaze lingered on your face.

"She's doing fine. Actually, she's with my mum right now," you replied, a small smile playing on your lips. "I gave her some paracetamol earlier and said to my mum that she could call me anytime if Mara becomes too unsettled," you told him and Cillian nodded, his hands stuffed into his pockets. He looked uncomfortable, almost as if he wanted to say something more but didn't know how.

"I read the article that was published in the Irish Times," you said, breaking the silence between you both. "And to be honest, I didn't think it should ever have been published like this Cillian. I am so sorry. Maybe I should have given a statement," you said, and Cillian grunted in response, his eyes still scanning the room full of guests. You couldn't blame him, though; he had been caught off guard by the article's contents.

"You know most of this stuff is a lie, right?" he whispered and, immediately, you nodded.

"I know, but it still sucks for you, so I am sorry," you muttered back, feeling an unexpected sense of commiseration with him.

You couldn't deny that you still had feelings for Cillian, despite everything that had happened. It wasn't easy to just turn off your emotions, especially for someone who had meant so much to you at one point in time.

"Thanks Y/N. I was honestly taken aback when I read it, even though I knew it was coming," Cillian replied, his gaze still lingering on your face. "Now, about the week after next, are you still planning on coming to Liverpool with Mara for the week?" Cillian asked, changing the subject swiftly, but keeping the conversation light.

"Yes, I am. We are both looking forward to it," you confirmed with a smile, causing Cillian to relax a little upon hearing this.

"Good, because I am looking forward to it too. I can't wait to spend a week with Mara and you, as a family," Cillian said and, of course, his reference to "family" caught you off guard. 

"Well, I was actually more thinking about having you spend some time with Mara on your own after filming while I do my own thing," you replied truthfully and a cloud seemed to pass over Cillian's features and, in that moment, you wished you had just played along. "It just seems more appropriate that way, you know? Considering the circumstances," you explained, but Cillian sighed.

"More appropriate?" Cillian chuckled, shaking his head. "Do you mean more appropriate for you or for your toyboy, Sean?" he asked, the disdain clear in his voice. "Because it seems to me that, lately, he has been taking an issue with me," Cillian told you and you bristled at Cillian's use of the term 'toyboy' and opened your mouth to reply, but then closed it again. 

You took a deep breath and said, "It's not about Sean or anyone else, Cillian. It's about what's best for Mara and me."

"Fine, sure. I get it," Cillian replied, his tone clipped, which is when you were interrupted by Cillian's mother, ushering him away for some family photos. 

Later that day, during the reception, Cillian had clearly calmed down , but there was still lingering tension between the two of you. You kept your distance for the rest of the night, unwilling to engage with him outside of brief pleasantries as, clearly, the article had left him with a sour taste. 

He was more irritable than usual and all the work that you had put into your relationship as co-parents to Mara through counselling sessions seemed to be in vain once again when, at around 8 o'clock in the evening, he snapped. 

For hours, Cillian watched you as you were being courted by a young single man who was no other than the groom's nephew, Carl.

Carl was merely 23 and had been throwing glances your way all night until, eventually, he took up the courage to ask you to dance.

You hesitated at first, looking nervously towards the other women seated at tour table, but then nodded and moved towards Carl.

The dance floor was packed, so Carl and you had to squeeze your way through the throng of people until you found a small, secluded corner to dance in.

Cillian  watched this display from afar, his gaze flicking from you to Carl and back again. He couldn't help but feel a sense of jealousy rising within him, even though he knew that he had no right to feel that way. He had no claim on you anymore, and you were free to dance with whomever you wanted.

But still, the sight of you in Carl's arms, your body moving in time with the music, was almost too much for him to bear and, only half way through the song, he approached  the two of you, his steps stiff and his gaze a little stormy.

"Can we talk?"  Cillian asked, not leaving much room for argument. It wasn't a question, more like a statement.

You glanced at Carl, who immediately released you and stepped back, sensing the tension between you and Cillian.

"Of course," you replied politely, taking a small step back as well.

Cillian nodded and began to steer you away from the crowd, navigating his way through the throng of people towards the lobby of the hotel in which you were both staying, which was located right next to the function room where the party was still in full swing.

"What's going on?" you asked him, keeping your cool as he led you a short distance away from the festivities.

"Why are you doing this?"  Cillian asked, his voice low and tight.

You frowned at him, confused. "Doing what?"

"Dancing with him. Flirting like this. I don't fucking know," Cillian said, his gaze intense. "First Sean, then this boy who is like what? Twenty or twenty-one at the most?" he asked, the disdain once again clear in his voice.

"Are you serious Cillian? You dragged me out here for that?" you asked, exasperation lacing your voice as you pulled your hand out of his grasp.

Cillian sighed and closed his eyes for a brief moment before opening them again. "Yes. I did. Because I can't fucking take it anymore Y/N,"  Cillian replied, his voice tight and filled with frustration.

"Can't take what?"  you asked, crossing your arms over your chest. "Can't take what, Cillian?" you repeated, your voice growing stronger with each word.

Cillian took a deep breath, trying to steady himself before speaking. "This. All of this," he said, gesturing to the party behind you. "You being with Sean. You wearing this fucking dress. You dancing with another man," he continued, his voice edging closer to a shout, and not entirely sure how to respond to him, you simply remained quiet, watching Cillian run a hand through his hair as he took a deep breath. "What the fuck has gotten into you?" he then asked. "Throwing yourself  at every man that crosses your path?" Cillian added, his voice dropping a little, and you could tell that he was trying hard to keep his emotions in check.

You sighed, looking away from Cillian for a moment, trying to gather your thoughts. When you finally met his gaze again, you said, "Cillian, you need to move on,"  you said firmly. "If you can't do that, then you're creating a toxic environment for everyone involved, especially Mara," you warned him, your voice full of conviction.

Cillian looked at you, stunned, for a moment, his jaw hanging open slightly. Then, he closed his mouth, took a deep breath, and let it out slowly as he seemed to come to a realization.

"Don't make this about Mara now Y/N. This has nothing to do with her and me moving on. This is about you and the way you have been acting lately," Cillian said, taking a step closer to you, his gaze intense.

"Me? I'm not the one acting out of control here. I'm not the one who is making a fuss, and I am not the one who can't seem to move on and accept that our relationship is over," you replied, standing your ground.

Cillian took a deep breath and ran a hand through his hair. "I know it's over Y/N. I know you've moved on and that you're with Sean now. But you don't have to flaunt it in my face every chance you get," Cillian said in a quiet voice, another wave of frustration building up inside of him.

"Well, I am not Cillian. This is all in your fucking mind,"  you shot back, losing your patience, your voice rising slightly.

"Is it?" Cillian asked, his tone harsh. "Because the way I see it, you were parading around in that fucking dress, looking like bait for every single man in the room," Cillian  replied, accentuating his words with impassioned hand gestures.

"I wore this dress to the Academy Awards and, not once, did you complain about it," you shot back, your voice strong despite the lump in your throat.

Cillian sighed and ran a hand through his hair, looking away from you for a moment. "That was different," he then said quietly, unsure what else to say, causing your eyes to narrow.

"It was different because you knew that I was yours, right?" you chuckled. "While now, you are just so fucking insecure because I am not," you added, the words leaving your mouth in a rush.

Cillian looked taken aback at your sudden outburst and, for a moment, he just stood there, silent and shocked.

"Insecure?" he repeated, his tone calm and even, despite the storm brewing in his eyes. "Trust me, I have no reason or need to be insecure Y/N. I can have my pick of women, as you well know," Cillian replied and you immediately interrupted him.

"Yes, I know Cillian. Trust me, I know better than anyone how many women you can have with just a snap of your fingers because, at some stage, I was one of them," you retorted, recalling how it had all begun, leaving you both in an uncomfortable silence once again.

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[lunar-system]

Izzy Hands: The Moon.

Re-imagined from the traditional Rider-Waite-Smith tarot, this version of the Moon shows Izzy taking the shape of a lone Lover, longing for what he cannot reach.

Longer exploration of the card's symbolism under the cut.

Symbolism of the card

I initially meant this card to be specifically Izzy's, but he is once again unseparable from Ed. Though the moon itself is depicted as Ed, it is through Izzy that I interpret the journey of the card. Feel free to invent your own interpretation as well!

In the original version of the Moon we see a dog, a wolf, and a crayfish. Izzy takes the place of the wolf, marking him as wild and untameable. He is accompanied by a dog, symbolizing his loyalty. The crayfish has retreated, and we can see a monster lurking in the depths of the water, reminding us of the beasts that lie within.

Rachel Pollack (2011) writes: "The Moon signifies the dangerous time between the end of one world structure and the beginning of another. On the emotional level it can indicate the strange state when something powerful has ended and you find yourself thrown back on your instincts."

In the card Izzy already has his wooden leg. He his stepping into his role as the Unicorn, marking a shift in his loyalty and his place in the world. His reign as Blackbeard's first mate is ending, and a whole new world order is being imagined.

Ed is also seen in a new light. With his short beard, he is at the end of his captaincy, possibly even at the end of his piracy. He as the Moon is illuminated by the light of the Sun, personified by Stede in another card, The Sun.

Izzy bears witness to their combined light, unreachable to him on the ground. He teeters at the edge of the water illuminated by that very light, and is faced with a choice. Will he turn, follow the path and try to reach the unreachable? Or will he explore the unknown waters in front of him?

In tarot, water symbolizes emotions, intuition and subconscious. Pollack writes: "Here in the unknown territory our animal selves take over. We cannot suppress the wild emotions but only travel through them." The message of the Moon beckons Izzy to step into the water and face his emotions.

However, there are also dangers in the murky waters of the subconscious. Pollack continues: "The Moon card calls forth powerful dreams, visions, and the power of the feminine." In tarot water is a feminine element. Izzy, a beacon of masculinity, has in the past confused the feminine with the monstrous. He is now dared to invite the feminine within him to the surface. His posture already mirrors that of the feminine lover from the Lovers-card. It also calls back to the Fool, to someone at the beginning of their self-discovery.

Tl;dr: Izzy, the Fool and the Lover, is on a journey from one world to another. Will he follow the path and try to reach the unreachable, or will he find the courage to plunge into unknown waters?

A comparison between the original Rider-Waite-Smith card from 1909 and the re-imagined version

Izzy's pose mirrors the feminine Lover

Sources

Image source: Pamela Colman Smith, 1909, republished as Tarot of A. E. Waite, 2016, AGM-Urania, Germany

Text source: Rachel Pollack, A Journey of 78 Steps, 2011, as cited in the booklet for instruction and guidance of Tarot of A. E. Waite, 2016, AGM-Urania, Germany

[zweiginator]

Thoughts on forbidden love with Patrick?

i’m thinking patrick’s dad is a politician of sorts, running for a local election. your dad is his opponent. they despise each other, even with similar policy goals. it’s all in the name of the game.

you have to go to a gala. your father says it will look good for him if his kids are there. makes him look like a family man. he’s never been very involved in your life so you scoff, but eventually agree to go. an excuse to wear a nice gown and drink champagne can’t be half bad.

you arrive in a limousine; your father gives you and your siblings a pep talk. speak to people. mingle. smile and look happy.

you all agree, half heartedly. in reality you can’t wait for it to be over.

you see your father’s opponent step out of the limo parked adjacent to the one you’re in, holding his arm out for his wife to grasp onto.

and their son, whom you’ve never met, steps out from the other door, a cigarette limp between his lips. he cups his hands around it to light it. his father shakes his head, plucking it out of his mouth and throwing it away.

“patrick. have some decorum. at least wait until you can step away.” his father is stern, much like yours. always so concerned about image, like his son smoking is a blow to his campaign, a horrible, unforgivable moral failing.

patrick is his name, you guess. he looks handsome in a freshly pressed suit. his tie is crisp and his shoulders look strong and broad but you can tell he’s uncomfortable. that much like you, he was dragged here. a token, a symbol of a good family man. one that is fraudulent.

you step out of the car, and your father is obviously amused by patrick being scolded by his father. to him, it’s a point for his own campaign. an adult son smoking a cigarette, how awfully scandalous.

it’s all so fucking ridiculous.

patrick eyes you. your royal purple gown is perfect; your mother paid for it to be tailored and hemmed so it fits you in a way that nothing else ever has.

the whole night, patrick seems to be near you. he mingles with other families, pretends to find their monotonous conversations about summer homes and investments interesting. he tells them about tennis; you didn’t know he plays. but then again, he does look familiar, like maybe you’ve seen him around at the country club your dad is a member to.

patrick’s hand ghosts over your lower back when he moves past you; you notice he’s going out of his way to be near you. he raises his eyebrows at you over his flute of champagne.

you exchange glances all night, knowing glances of boredom and the exhaustion of meaningless talk with the most insufferable elites in your town.

you follow him when he leaves to go outside. he shows you a box of cigarettes, but you figured that was his plan before they left his breast pocket.

“we shouldn’t be speaking.” patrick says, taking a drag. he offers you one but you decline. if your father smells it, he’ll berate you for days. then again, if he sees you alone with patrick, his reaction will be far worse.

“is it against the rules to speak to an opponent’s kid? i don’t think it is, necessarily.”

“shouldn’t be. but our fathers would kill each other if it were legal.” patrick taps the ashes next to his shoe.

“i don’t care about my dad’s stupid campaign.” you respond. patrick is tall; he towers over you. his hair is messy and his jacket is slung over one of his shoulders. he shakes his head, taking another drag. this one is long; it stays stagnant in his lungs until his next breath.

“i don’t care either. in fact, i hope they both lose miserably.”

patrick knows your father knows who he is. the local tennis prodigy and son of his worst enemy. he has a few drug scandals, a couple incidents regarding public sex. all things that his father paid to suppress. but your father knows about them. patrick has a reputation for spreading a wildfire through everything he touches. he’s talented and handsome and charismatic—he gets it from his father. and that’s exactly the reason why your father’s cheeks heat up as he sees you alone with him by the river.

patrick sees your father watching; he’s facing him, but your back is turned, your shoulders peppered with goosebumps. patrick drapes his suit jacket over your shoulders and tilts your chin up. kisses you softly at first. and then he’s more needy, his hands roaming the soft expanse of your back, covered in pretty satin.

[girlactionfigure]

NOVEMBER 4, 2024

WHAT HAPPENED?

A Palestinian-owned café in Oakland, California kicked out a Jewish customer for wearing a blue hat with a Star of David on it, claiming that the symbol was “violent.”

This is a clear violation of Title II of the Civil Rights Act of 1964 and California’s Unruh Civil Rights Act. Note that this applies even if the Jewish customer went to the café expecting that something like this would happen (in other words, “he tricked us into discriminating against him!” is not a legitimate defense).

 It’s also worth noting this café has menu items titled “Sweet Sinwar” and “iced in tea fada” and its menu is decorated with the Hamas inverted red triangle. The café also openly expresses support for the October 7 massacre.

JVP TO THE RESCUE

What do you do when under fire for antisemitism? You tokenize (Not So) “Jewish” Voice for “Peace,” which openly supports terrorism against Jews and has even glorified Nazis in the past. For more, see my posts “Stop Sharing JVP” and “Time To Talk About JVP…Again.”

For those of us familiar with Jewish history and the history of antisemitism, this is par for the course. In the 1920s, the Soviet Jewish “Yevsektsiya” made it its mission to destroy “traditional Jewish life, the Zionist movement, and Hebrew culture.” The fact that the Yevsektsiya was “Jewish” was central to its purpose. After all, the Soviet regime couldn’t be accused of antisemitism when those shutting down all Jewish cultural and spiritual life were Jews themselves.

WE HAVE SEEN THIS BEFORE

Historically there have been, arguably, two kinds of antisemitism: (1) Nazi antisemitism, in which Jews are physically exterminated, and (2) Hanukkah antisemitism, in which the antisemite does not necessarily intend to take our lives, but rather, seeks to strip Jews of all the elements which make us...well, Jews.

Under the Soviet regime, for example, Jews suffered from “Hanukkah antisemitism.” The Soviets heavily suppressed Jewish cultural and spiritual life, stripping many Jewish families of thousands of years’ worth of history. Speaking or studying Hebrew was punishable by law. So was participating in Jewish religious traditions. At the same time, Jews were unable to assimilate into Soviet society due to their ethnic background. Jews were often imprisoned under false pretenses, accused of vague “Zionist crimes.” People with Jewish last names were subject to highly restrictive university quotas or banned from performing certain jobs.

Maybe you’ve noticed a pattern over the past year. First, it was only “Zionism,” not Judaism, that was a problem, despite the fact that the Jewish connection to -- and desire for sovereignty in -- the Land of Israel is inextricable from 3000 years of Jewish tradition. Then, they started denying our extensively recorded history and origins in Israel. At anti-Zionist Jewish events, now praying in Hebrew is considered “too triggering,” so it’s best to pray in colonial languages, like Arabic or English. Now, the Magen David is a “racist, genocidal symbol,” to quote Palestinian activist Mohammed El-Kurd.

Do you not see what’s happening? This is no longer about the State of Israel, the Israeli government, the Israeli-Palestinian conflict, or this current war. This is a thinly-veiled effort to methodically legitimize the discrimination of Jews -- and anything Jewish.

THE STAR OF DAVID

The Star of David, also known as the Magen David or the Seal of Solomon, is mentioned in Jewish texts as early as the first century. In fact, it’s found in coins from the period of the Bar Kokhba Revolt against the Romans (132-135 CE). It was also used as a decorative motif in the Khirbet Shura synagogue in the Galilee in the third century. Though initially merely used as an ornament, the Magen David was ascribed deeper spiritual meanings since the 11th century. It has since been associated with Kabbalah, or Jewish mysticism.  

In the 17th century, the Jewish community of Prague was ascribed the Magen David as its official symbol. Shortly thereafter, the Jewish community in Vienna also adopted it as a marker. By the 19th century, the Star of David was the distinctive Jewish emblem.

More than anything, perhaps, the Star of David is a symbol of Jewish resilience and survival. For centuries, Jews in Europe and the Islamic world had been forced to wear distinguishing clothes marking them as Jews. After the Nazis invaded Poland in 1939, Jews in Poland and in other Axis-occupied territories were forced to wear a Star of David, most often seen in the form of a yellow badge with the word “Jude” (Jew) or a similar variation. Therefore, for many Jews, the act of wearing Star of David jewelry or clothing is a reclamation of our ancient symbol that was once weaponized to oppress us.

A DOUBLE STANDARD

Hundreds of millions of people have been slaughtered under the banner of Christianity and Islam each. The Crusades alone took about 1.7 million lives. The Spanish Inquisition? Up to 300,000 lives. In the “New World,” some 56 million Indigenous people were killed in the name of Christianity. These are just a few examples. It’s estimated Islam’s conquests alone left some 270 million people dead. 

During the First Jewish Revolt, the Romans crucified some 500 Jews a day. Yet I would never dream of denying someone service at a coffee shop because they’re wearing a crucifix. 

When Jihadists carry out terrorist attacks, they shout “Allahu Akbar” — the same phrase used by the 1.8 billion Muslims around the world in their daily prayers. Muslims recite the Shahada prayer daily, the same prayer that is inscribed in the ISIS, Hamas, and Al Qaeda flags. And yet, I would never dream of denying someone service at a coffee shop because they’re a Muslim who says “Allahu Akbar” or recites the Shahada prayer.

Under Islamist regimes, such as the Islamic Republic in Iran, women are beat to death for not wearing hijab or wearing hijab “improperly.” But I think you would agree that denying a woman in hijab service at a coffee shop on account of the Islamic Republic’s crimes is plain bigotry.

You may be triggered by crosses, hijabs, or the Star of David, and your triggers may be rooted in valid trauma. But your triggers are no one’s responsibility to deal with but your own, and they are no excuse to lash out in bigotry.

Even if Israel’s actions were equivalent to those of Nazi Germany, equating the Star of David with the Nazi hakenkreuz (commonly misidentified as the “swastika”) is an inherently problematic analogy.

Unlike the Star of David and the Jewish people, the swastika has zero spiritual or cultural significance in German culture beyond Nazism.Within the German context, the Nazi hakenkreuz means one thing and one thing only.

On the other hand, the Sanskrit swastika and other similar symbols, such as the whirling log, have long, rich traditions in their respective cultures. While some Native American tribes have decided to retire the whirling log, others continue to use it. The Sanskrit swastika is commonplace in countries such as India and Nepal. 

Sure, if someone with zero cultural connection to the swastika or the whirling log decides to “reclaim” the symbol, I’d probably do a double take and consider it an antisemitic dogwhistle. But when I went to India, I saw the swastika everywhere, and because I am capable of critical thinking, I was easily able to recognize that the symbol has an entirely different connotation in this particular cultural context, despite my personal and family trauma.

A NOTE ON HOLOCAUST INVERSION

Holocaust inversion is a rhetorical tool used to portray Jews as morally equivalent — or worse — than Nazis. It’s often employed in discussions about Israel-Palestine and is frequently used by anti-Zionists.

 To understand why Holocaust inversion is unquestionably antisemitic, we must first understand what Holocaust denial actually is. Holocaust denial is not just an outright denial that the events of the Holocaust happened, but more often than not, it’s a denial of well-established facts about the Holocaust. For example, someone who says the Holocaust didn’t happen at all is as much a Holocaust denier as someone who claims the Holocaust did happen, but only one million Jews were killed.  

Therefore, Holocaust inversion is always Holocaust denial, because: 

(1) it relies on the minimization of established facts about the Holocaust. However harrowing the humanitarian crisis in Gaza — and it is — it’s just in no way equivalent in scale, scope, and methods to the atrocities committed during the Holocaust. This is a historical fact, and denying it is denying the Holocaust.

(2) characterizing Jews — Zionist or not — as Nazis is a denial of the well-established fact about the Holocaust that the predominant force in Nazi ideology was genocidal Jew-hatred. Jews cannot be the inheritors of Nazism simply because the Nazis wanted all Jews exterminated. A denial of this basic fact is Holocaust denial.

For a full bibliography of my sources, please head over to my Instagram and  Patreon. 

rootsmetals

I sincerely don’t understand how there’s still Jews out there who still make excuses for these people, who don’t see what’s happening. Learn your history. Have some self-respect.

[odesofmeddea]

trying on an argument why sam and dean were in factual canonical enmeshment: their bond presumes the absence of nuclear family or any long-term partner in the lives of either; the very formulation of this rigid condition - me or her, - is telling, overtly so, how their relationships are rooted bog-deep in the belief in its crucial self-sufficiency. the bond between related people devoid of such an incestuous tilt generally endorses that a relative builds and commits to a family of his own and puts not a stipulation of choice. that is, ‘it is fine if my brother marries - how and why would that affect our connection?’ - is not fine with sam and dean. if it was so, sam would've kept dating ruby, amelia, etc., etc., without dean putting him under the exigency of picking, without the uncontrollable invasion of his sexual and general privacy by dean (‘did you have sex with her? first madison then ruby now cara then lilith’, dean eavesdropping on sam's calls and going through his phone, or interrogating him concerning his whereabouts, if there's a woman he doesn't know about), and, moreover, without sam feeling an unspelt obligation of either concealing (why, right?) or rescinding these side hook-ups. oh, also it's him or benny. same with lisa, who knew the fact of her secondariness when competing with sam and that the existence of one naturally excluded that of the other. why can't they all be a big family performing roles socially allotted to them?.. because sam fills in all the roles. because dean and sam want to live in one room and they brush their teeth together and share one car and invariably solve cases together and own a dog and coparent jack and even their afterlife is a shared homoheaven bereft of other love interests. where a woman is to put herself between, in what inextant interstice? ultimately she is reduced to a blur in the background while sammy raises his kid, dean ii, and she is not addressed, not once, in the script, her only definition is of a nemo-womb sam cohabits with to conceive a replica of dean he can nurture as a solace during his lifelong premeditation of reunion with his brother, his nóstos - this is an awful lot of all women and possible partners of have been and to be. one would say that's rather too much. were sam and dean a girl and a boy conforming to gender binarism & heteronormativity the ambiguity of their relation would've been acknowledged more widely, the incestuous codependency interpreted more obscene. but since they're not and also are very uneasy with the innuendo (‘the most troubling question is why they keep assuming we're gay? - we're just brothers!’), it's very convenient to diminish it to just a strong fraternal love. which it is. but not only that.

the potentiality of erotic subtext inside of their greedy proximity seems scary and stupid and is eschewed by both - how are they to subvert and subsume their relationship into non-brother categorization when it's just their life, just the only thing they've known, being this close? still, the only affairs permitted are the ones that are treated as and are simple, emotionally untethered one-night-stands because sam and dean are not sexually available to each other. nor they're resolute into directly consummating their relationship - the need to is either lacking or suppressed and is to be interpreted variously because covert incest is not primarily about coition but miscellanea of things, more often than not of un/subconscious genesis and procession. sam and dean know their relationship is bonkers. they don't necessarily have to know or admit they're a couple. what else they know, though, is they can't have sex. they cannot consciously translate their enmeshment into overt eroticism. that's why the siren episode is titled ‘sex and violence’ - there the mutual violence unleashed onto each other (along with the symbolic penetration through knife and breaking of the door) serves as a surrogate for sex. that, along with impulsive hugs, is the only form of lingering physical contact they usually have. but the yearning, although not experienced in one concreteness, compensates and provides for itself in a safer realm of sam and dean's emotional spaces. they can't have sex but they can fall into possession of each other's feelings. that's why once the personal attachment to anyone else is developed it is construed as betrayal by either. if you need another person, if you feel something for them that you're supposed to feel only with me (intimacy, trust, love, loyalty, belonging) - that's when you abandon me because we can't coexist with others.