#supreme patriarch

[thepinkseat-askthemoonbunny]

Dipping my toes into Warhammer lore recently and one of the first questions I had was...what does Balthasar Gelt look like behind his mask?" Of course nobody knows, but I had to draw my own interpretation for what he might look like (a little younger than I was going for but hey, I'll take it).

Since I'm going with the "disfigured by the black powder explosion" theory, I like to think that dude kintsugi'd what was left of his face back together like Japanese pottery...as you can see, he's missing a huge chunk out of the right side of his face that he filled in with gold.

idk why curly auburn hair was my first choice of hair color, but he just gives redhead vibes to me (he doesn't do much with it since nobody sees it and so it's always got the messy "helmet head" look.

[msbhagirathi]

IPKKND HEART TO HEART CONVO-(1/n)

It was a nice Sunday morning. Arnav was laying on his bed lazily, half asleep, with his hands folded behind his head. Khushi was, fresh out of the shower, getting ready for the day.

Khushi (quietely inching towards the bed) : Arnavji...? Aap so rahe hain kya...?

Arnav (already squinting at her with sleepy eyes and ruffled hair) : Khushi tum mujhese 'ji'-'aap' karke kyun baat karti ho...? Maine tumse kaha hai na that you are my equal. Tum me aur mujhme koi difference nahi hai.

Khushi (a knowing smile on her face, sat down beside him) : Yeh toh aapka baddappan hai Arnavji, joh aap humse aisa keh rahe hain.( You are being modest, Arnavji.)

Khushi : Hum aapse aise baat isiliye karte hain kyunki hum aapka samman karte hain. Humari nazron mein aapka kad bohot uncha hai.

Khushi : Hum jaante hain ki aap humein apna baraabar maante hain. Lekin aap nahi jaante ki aap humein jaan-anjaane mein kitna kuch sikha dete hain. Aap bhale hi kehte ho ki aap bhagwan mein vishwas nahi rakhte par humne apni puri zindagi mein aapke jaisa, nek insaan, aaj tak nahi dekha hai, joh apne aap ko nastik (atheist) kehta ho.

Arnav : But Khu-

*She placed her index finger on his lips*

Khushi : Hum jaante hain ki aapko purani baatein yaad karne ka koi shauk nahi hai par aaj humein bolne dijiye Arnavji. Aap humesha humein chup kara dete hain par aaj hum bolenge aur aap sunenge.

Khushi : Aaj hum aapko batana chahte hain ki hum aapki itni izzat kyun karte hain.

Khushi : Hum samajhte hain ki aapke liye kisi par bharosa karna kitna mushkil hai. Humein ab samajh mein aata hai ki, aap par kya beeti hogi, jab aapko yeh laga ki, jis ladki se aap pyaar karte hain, usne aapki zindagi ke sabse ahem insaan ke saath, dhoka karne ki koshish ki hai.

Khushi : Beshak tab aapke paas hum par vishwas karne ki koi vajah hi nahi thi kyunki tab hum aapke liye koi nahi the.

*Arnav knew where this was going and closed his eyes to steel himself*

Khushi : Hum jaante hain ki, har roz aap apne aap ko koste (curse) honge. Aapko lagta hoga ki, na aap Di ki raksha kar paaye aur na hi aap, humari vajah se, humare liye, apne aap ko, rakshas banne se rok paaye. Aapne kabhi socha hi nahi hoga ki, jis ladki se aap itna pyaar karte hain uski, nazron mein aapko itna niche girna hoga, ki aap apne aap se bhi nazrein nahi mila payenge.

*Arnav slowly starting to get teary-eyed, turned his face away from her, to hide it*

Khushi : Hum jaante hai ki hum galat nahi the phir bhi humare saath galat hua par hum yeh bhi jaante hain ki aapko bhi utna hi jhelna para tha. Hum samajhte hain ki aapko kitni ghutan hui hogi. Chahte hue bhi aap hum par vishwas kar hi nahi paaye honge.

*She laid her head on his chest with tears rolling down her face*

*Arnav slowly starting to sob, placed his hands softly on the back of her head, caressing her hair gently*

Khushi (speaking through her shaky voice) : Hum jaante hain ki aapko kitna dard hua hoga, ki aap hum se kitna pyaar karte hain, ki aapne hum par vishwas kiya aur humein mauka diya, humare pyaar ko apnaya.

*She started crying bitterly, shaking, trembling against his chest*

*Fresh tears, big and hot, rolled down his face as he took in her words*

He gently pulled her upright, sat up and wrapped his arms around her tightly, eyes shut, tears flowing continuously, his body trembling with the weight of the emotions, that her words held.

****Both of them sobbed for several minutes, calmed down gradually****

Khushi (wiped her tears, sniffing) : Isiliye jab hum aapke pair chune ke liye jhukte hain, toh aap humein roka mat kijiye.

Arnav (wiping his tears, look at her, pursing his lips) : Theek hai. Lekin SIRF tumhare liye.

Khushi (grinned) : Wada kijiye humse! (extended her palm)

Arnav (held her hand, smiling) : I promise, Khushi. Tumhare liye, kuch bhi.

Khushi : Hum bhi na! Ek hi din aap chutti par ghar-pe hote hain aur woh bhi hum roh-dho ke barbaad kar rahe hain.

She stood up hurriedly to complete drying her hair with the towel and placed it on the recliner.

Arnav : Tum chah kar bhi mera waqt barbaad nahi kar paogi, Khushi. (Note- *cue* when he had said something similar but very different to La, in her intro epi)

He made his bed, hung the towel on his shoulder and walked to the bathroom.

Few minutes later....

Khushi (to Garima, smiling dreamily) : Amma, aapko pata hai! Humare Arnavji duniya ke sabse acche pati the, hain aur humesha rahenge....

So.....I tried this one in Hindi....shall I...umm...is it better in English..? I don't even know... Also I don't know if I am allowed to casually tag people here or not. But I wanna thank them as well...so..

Phati-Sari, Jalebi-weds-bluetooth, Paobhaji, chutkiandchotte, onadaanparindey, dimaagkadahi, kashmakash, arnavsinghraizada, laadgovernorandsankadevi, pakki-ya-nahin and all the other IPK fans as well..

Mentioning all of you here because I have huge amount of gratitude to all of you, in some way or the other, I owe you the entertainment that I have received and enjoyed from all of your content and that too for...um...FREE!?!?! I can never thank all of you enough for all that you have done and are still doing for us IPK kids. So, I am trying to do something close to what all of you have done... THank you from the bottom of my heart.

[creature-wizard]

General reminder to the pagans out there:

Making a supreme goddess figure part of your spirituality? Great! Worshiping a mother goddess? Wonderful! If that brings joy and meaning into your life, excellent!

"Once upon a time long ago, people all worshiped a great goddess until THE PATRIARCHY conspired to overthrow her and replace her with a CRUEL PATRIARCHAL GOD" - that's pseudohistory and conspiracism; there's literally no evidence for it whatsoever, and it can and does drag people down the new age to alt right pipeline.

[redditreceipts]

what baffles me is that he doesn't even realise how stupid his point is when talking about white supremacy. yes, we are all socialised under white supremacy. but some of us are socialised as the supreme, and others are socialised as the inferior. or is he really arguing that there is no substancial difference in growing up white vs. growing up Black??

yes, we are all socialised under patriarchy. BUT YOU WERE SOCIALISED AS THE PATRIARCH omg are you really that stupid or are you pretending

[justinspoliticalcorner]

It is hard to imagine a worse candidate for the American presidency in 2024 than Donald J Trump. His history of dishonesty, hypocrisy and greed makes him wholly unfit for the office. A second Trump term would erode the rule of law, diminish America’s global standing and deepen racial and cultural divides. Even if he loses, Mr Trump has shown that he will undermine the election process, with allies spreading unfounded conspiracy theories to delegitimise the results. There are prominent Republicans – such as the former vice-president Dick Cheney – who refused to support Mr Trump owing to the threat he poses. Gen Mark Milley, the chairman of the joint chiefs of staff under Mr Trump, calls his former boss a “fascist��. America was founded in opposition to absolute monarchy. The Republican nominee models himself after the leader he most admires: Russia’s autocratic president, Vladimir Putin. Mr Trump’s authoritarianism may finish US democracy. He has praised and promised to pardon those convicted in the January 6 insurrection. He has suggested bypassing legal norms to use potentially violent methods of repression, blurring the lines between vigilantism, law enforcement and military action, against groups – be they Democrats or undocumented immigrants – he views as enemies. His team has tried to distance itself from the Heritage Foundation’s Project 2025 and its extreme proposals – such as mass firings of civil servants and erasing women��s rights – that poll poorly. But it is likely that, in office, Mr Trump would adopt many of these intolerant, patriarchal and discriminatory plans. He aims to dismantle the government to enrich himself and evade the law. If Republicans gain control of the Senate, House and White House, he would interpret it as a mandate to silence his critics and entrench his power. Mr Trump is a transactional and corrupting politician. His supporters see this as an advantage. Christian nationalists want an authoritarian regime to enforce religious edicts on Americans. Elon Musk wants to shape the future without regulatory oversight. Both put self-interest ahead of the American people. Democracy erodes slowly at first, then all at once. In office, Mr Trump appointed three supreme court justices, who this summer blocked efforts to hold him accountable for trying to overturn the 2020 election: their immunity ruling renders the president “a king above the law”, in the words of the liberal justice Sonia Sotomayor. Since Kamala Harris stepped into the spotlight following Joe Biden’s exit, her campaign has been a masterclass in political jujitsu, deftly flipping Mr Trump’s perceived strengths into glaring weaknesses. With a focus on joy, the vice-president sharply contrasted with Mr Trump’s grim narrative of US decline. In their sole televised debate, Ms Harris skillfully outmaneuvered Mr Trump, who fell into her traps, appearing angry and incoherent. She is confident and composed. He sounds unhinged. [...] Political hope fades when we settle for what is, instead of fighting for what could be. Ms Harris embodies the conviction that it’s better to believe in democracy’s potential than to surrender to its imperfections. The Republican agenda is clear: voter suppression, book bans and tax cuts for billionaires. Democrats seek global engagement; the GOP favours isolation. The Biden-Harris administration laid the groundwork for a net zero America. A Trumpian comeback would undo it. A Harris win, with a Democratic Congress, means a chance to restore good governance, create good jobs and lead the entire planet’s climate efforts. Defeating Mr Trump protects democracy from oligarchy and dictatorship. There is too much at stake not to back Ms Harris for president.

The Guardian Editorial Board's endorsement of Kamala Harris for the 2024 US Presidential Election (10.23.2024).

The Guardian’s editorial board gave a powerful endorsement for Kamala Harris, as our democracy’s survival depends on her winning.

[mdzs-fanon-exposed]

MDZS Fanon VS Canon: 10/?

Wei Wuxian was called the Yiling Patriarch during the Sunshot Campaign

Rating: FANON – CONFLICTING

There is, understandably, a bit of confusion about when Wei Wuxian started to be known as the Yiling Patriarch. For convenience's sake, he's often called by this title throughout many fanwork depictions of the Sunshot Campaign, and/or the period in which he was coreless. This makes sense from an aesthetics perspective, as during this point in his life he was already adopting the persona associated with the Patriarch brand, but in canon, the title was only given to him after he liberated the Wen prisoners.

Put simply, it's not possible for Wei Wuxian to have been called the Yiling Patriarch during the Sunshot Campaign, because by definition the title must have been given to him once he was based out of Yiling – after he liberated the labor camps and set the Wen settlement up in the Burial Mounds. Although Wei Wuxian had been thrown into the Burial Mounds by Wen Chao, ostensibly drawing that connection before the Sunshot Campaign, nobody else (besides some of the Wens) knew at the time.

However, the title was not given to Wei Wuxian immediately after settling in the Burial Mounds. We can actually pinpoint the exact turning point when Wei Wuxian "became" the Yiling Patriarch:

After Wei Wuxian defected from the Jiang Clan of Yunmeng and became the Yiling Patriarch, he’d been in significant conflict with the Lan Clan of Gusu, especially in the months prior to his death. (Seven Seas Ch. 4)

Wei Wuxian was only known as the Yiling Patriarch after his split with Jiang Cheng and the Yumeng Jiang Sect. This means there was a period of time in between the formation of the Wen Settlement and Wei Wuxian's defection, in which Wei Wuxian was living in the Burial Mounds but was NOT yet publicly known as the "big bad evil cultivator" Yiling Patriarch.

We also know the first time the words "Yiling Patriarch" are mentioned chronologically:

None of the fierce corpses Wei Wuxian had ordered to patrol the foot of the mountain actively attacked anyone—the most they did was hurl them away with teeth bared in a snarl. No one was ever hurt. And so, more and more people crowded at the foot of the Burial Mounds. Wei Wuxian once saw a long pennant in the distance, emblazoned with the title “The Supreme Evil Yiling Patriarch,” and spat out an entire mouthful of fruit wine at the sight. (Seven Seas Ch. 17)

This implies that the title of "Yiling Patriarch" was formulated not by anyone in the cultivation world who saw Wei Wuxian as a threat, but by the common people who idolized him. The title could have then spread to members of cultivation sects, who adopted the common name.

In fact, the next time we see a reference to the title is when the Jiang siblings secretly meet with Wei Wuxian and Wen Ning, and Jiang Cheng uses it to tease Wei Wuxian:

“Wei Wuxian and Jiang Cheng were still standing inside the courtyard. Jiang Cheng raised his bowl. “To the Yiling Patriarch.” “Hearing the title reminded Wei Wuxian of that long pennant fluttering shamelessly in the wind, and his mind was filled with its huge dazzling words: “The Supreme Evil Yiling Patriarch.” “Shut up!” he said.” ... He finished the rest of his soup in a single mouthful and stood. “Impressive. Amazing. As expected of the Yiling Patriarch.” Wei Wuxian spat out a piece of bone. “Are you done?” (Seven Seas Ch. 17)

Meaning while the title spread incredibly fast, it was not taken seriously (by Wei Wuxian, at least) for at least a short period of time while the rumors surrounding Wei Wuxian were building up. Notably, Wei Wuxian does not associate himself with the title.

My interpretation of why this happened is that during the period that Wei Wuxian was still part of the Jiang Clan, his actions were seen as representative of – or at least the responsibility of – the Jiangs. Regardless of whether the cultivation world knew he was working alone, as it were, he was still beholden to a sect who had power over him. Wei Wuxian would not have been seen as a "patriarch" in his own right.

After the defection, however, Wei Wuxian was an unknown in terms of affiliation, and thus a potential threat. With the rumors about him already beginning to paint him as evil and unstable, combined with the fact that he was going on public night hunts with Wen Ning, he quickly became notorious:

After stealing the show at several Night Hunts, quite a few people came knocking, drawn by admiration of his reputation and in hopes of joining the “Grandmaster” to become disciples under his banner. (Seven Seas Ch. 17)

Thus, the title of "Yiling Patriarch" would have only been popularized once it was assumed that Wei Wuxian wanted to start his own sect. This would have only exacerbated the hypothetical threat that Wei Wuxian was to the cultivation world as well, and contributed to his mythologizing as a quintessential sort of boogieman. This is actually an excellent example of a major theme in MDZS, of how quickly rumors can cause severe harm.

In the end, regardless of how or by whom the title was created, Wei Wuxian was only (unwillingly) given the title of Yiling Patriarch after he defected from the Jiangs.

[aliciavance4228]

Unpopular Opinion: Demeter Did Nothing Wrong

Alright, maybe the title isn't 100% accurate since she almost wiped the entire human race from earth, but you got the idea.

The thing with Demeter is that nowdays she is demonized/villainized all the time. And the most ironic part is that she is demonized by feminists, which leaves me quite confused, considering the fact that she would technically be a great example of female strength, especially when raporting to "Homeric Hymns to Demeter". But before discussing the myth of seasons, let's talk about her background story:

One thing that is certain about Demeter is that she had horrible experiences with almost all men from her life. Her father ate her. Poseidon raped her disguised as a horse. Zeus raped her as well (which led to the birth of Persephone). Iasion was one of the few men from her life who loved and respected her, and whom she lived with for a while before Zeus became jealous and killed him; yes, he is THAT much of a d-

The only one of her brothers who didn’t hurt her in any way at that time was Hades. And if you take into account the versions of the myths in which Hades was born before her that means that he was the one who took care of her as well during the time when they were trapped in their father's stomach. So it is pretty much implied that he was the only one of The Big Three whom she trusted the most, which makes the discovery that he was the one who kidnapped her daughter even more tragic.

Now, about "Homeric Hymns to Demeter": first of all I want to point out the fact that this myth isn't about Hades and Persephone. They are mostly mentioned in this story rather than actually playing an active role in it, because they have more of a symbolic value above it all. Wheter Persephone came to love Hades in time or despised him for the rest of her eternity is irrelevant, because this myth is not about her but Demeter.

Demeter had already faced some disturbing experiences even before Persephone was kidnapped. And considering the fact that her own daughter was a result of SA, it makes perfect sense why she would be protective towards her and raise her outside of Mount Olympus; every woman that was raped would fear that her daughter would face the same cruel fate.

About the abduction part: it is revealed to us at the beginning that Hades asked Zeus if he can marry his daughter, and he agreed. Hades only needed the approval of the father in order to wed her. Back in the Ancient Greece, especially in the Athens, people had a very patriarchal view on marriage. On short: the marriage would be usually planned between the groom and the father of the bride, her mother not knowing anything about what was going on until her daughter was already taken away from her. This myth is a representation of how the Patriarchy was a dominant system even among deities, with Zeus as its supreme figure.

At this point, the myth of seasons can be already considered a comfort story for mothers who had to endure the loss of their daughters either through death or marriage. This myth, however, has a lighter note as well, and that because Demeter, instead of accepting the fate of her daughter, left her anger free and did anything she could so that she would ultimately convince Zeus to give her daughter back, the last solution being leaving hundreds of humans dying of cold and hunger. This part basically shows how even a patriarchal figure like Zeus can be defeated by a mother's rage (or pure female rage, take it as you wish). Even though this myth is supposed to tell us just how seasons appeared, it can also be used as a moral lesson for men: it is better to consult with your wife and daughter before making a decision, or else there will be GREAT CONSEQUENCES.

And finally, one moment that is indeed very touching yet most people are ignoring for some reason is when her mother Rhea appears in front of her and starts to comfort her after she found out that Persephone ate the promeganate seeds, showing how a mother's mouring over her daughter was a common feeling among most female deities from Greek Mythology.

Now, is Demeter perfect? Absolutely not. And that is okay, because instead of that she is supposed to show in this myth a lot of humane and realistic nuances about what being a woman is like. She is a complex character, and completely demonizing her just because you ship Hades and Persephone is quite disturbing in my honest opinion. Wheter or not you like this couple (I won't condemn you because they are still one of the most stable relationships from Greek Mythology, but that basically shows just how f*cked up myths are in general lmao but anyway....), you have to understand the fact that the "Beauty and Beast" and "A mother's love will always conquer" are two tropes that can co-exist, and that things aren’t just black-and-white.

[ratherembarrassing]

nobody:

nytimes:

In ‘House of the Dragon,’ a Sapphic Subtext Reigns Supreme

HBO’s “Game of Thrones” prequel “House of the Dragon” has returned for a second season, bringing back the greatest tragic love story now on television: the star-crossed love of the central characters, Alicent Hightower (played by Olivia Cooke) and Rhaenyra Targaryen (played by Emma D’Arcy).

The romantic energy crackling between the two queens is clear enough to have drawn notice. As teenage best friends, they loved each other in that heady mix of romance, friendship and mimicry characteristic of girlhood. As adults, stripped apart by forced marriages and primogeniture, their romance withers into endless competition and bitter cruelty. They plunge their families into a brutal civil war, replete with parricide and dragon fire.

All the show’s conflicts could be solved if our heroines could explore more productive possibilities. Like any good tragic romance, the unfulfilled longing that stretches between the two characters acts as the tension that holds the story together. Without it, the story would feel far less Shakespearean.

The story’s queer subtext is purposeful. Emily Carey, who played young Alicent Hightower in the first season of “House of the Dragon,” has said that the two characters are “in love a little bit” and that their interactions “toe the line between platonic and romantic.” Her counterpart, Milly Alcock, who played a young Rhaenyra Targaryen, noted the way societal circumstances keep them separate: “These women aren’t given the privilege to know what choices they have, because of the world that they live in.”

The women of the universe of “Game of Thrones” are no strangers to sexual violence and are most often accessories to patriarchal ends. Oftentimes, the fantasy show’s violations are poorly explained away as attempts to craft a realistic mirror of historical violence. But in the case of Rhaenyra and Alicent, a “realistic” setting functions as the perfect garden in which to cultivate an allegory about the consequences of compulsory heterosexuality.

If the queens lived in a society in which they could fully explore the feelings that hang between them, would there really be any need for a world-crushing, family-savaging civil war? Wouldn’t their world be a better place if they could just fall in love?

Queer people have long trained ourselves to hunt for marginal subtext — longing looks, brushes of hands, impotent anger — when overt queer narratives are absent. The subtext in “House of the Dragon” is not marginal. Without it, the show would be yet another unremarkable installment in a franchise that has outstayed its welcome.

[princesssarisa]

That post about all the different possible interpretations of Frankenstein, and my response post about the different interpretations of Little Women, have made me think of all the different ways that other stories can be interpreted.

For example, the opera The Magic Flute. Some people wonder why I never get tired of that particular opera. Well, one reason is that no two productions feel exactly the same, because it can be looked at in so many different ways.

Here's a list of different interpretations I've read. This is probably just scratching the surface of possible perspectives, though.

Nor are these readings mutually exclusive: several can be and have been combined with each other.

*The Magic Flute is about the Age of Enlightenment. The Queen of the Night represents the Baroque era (hence the pseudo-Baroque style of her music), with its powerful Catholic church and ancien régime: luxuriantly beautiful and captivating, but decadent, manipulative and ruthless. Sarastro and his priests represent the Enlightenment, and in particular the Freemasons, with progressive values of reason, mercy, fraternity, self-control, etc. The Queen's ultimate downfall and Sarastro's rise in her place represents the social, cultural and philosophical changes that swept the Western world in the 18th century, leading to the American and French Revolutions, among other reforms. (As for why the progressive men still oppress women and own slaves... well, just look at real life.) Tamino and Pamina are an idealized young everyman and everywoman, who learn to embrace Enlightenment values and will carry them into the future.

*The Magic Flute is a socio-political and Masonic allegory focused expressly on Austria. All the sentiments above still apply, but the Queen specifically represents the staunchly Catholic Empress Maria Theresa, Tamino her more progressive son Emperor Joseph II, Sarastro the prominent Masonic leader Ignaz von Born, and Pamina the country of Austria itself, whose soul they struggle for.

*The Magic Flute is about Freemasonry as religion, namely as an offshoot of Christianity. Pamina's late father, who bequeathed his power to Sarastro, represents Jesus Christ himself. His widow the Queen of the Night, who sees herself as his rightful heir, expressly represents the dazzling yet corrupt Catholic church, the so-called "Bride of Christ." Sarastro and his priests, again, represent the Freemasons, who are portrayed as the true heirs of Christ, faithful to His teachings of mercy, brotherhood, endurance, and forgiveness. Tamino and Pamina learn which religion is false and which is true, then prove their worthiness to be initiated into the true religion.

*The Magic Flute is about the progress from nature to civilization. The Queen of the Night is a matriarchal nature goddess who reigns in a realm of stars, rocks, birds, and animals, where there is no law, only emotion, intuition, and personal will. Sarastro, by contrast, rules a patriarchal city and religious order, where laws, rituals, collectivism, and codes of virtue reign supreme. The opera celebrates the progress from the former to the latter, which has occurred in every country since recorded history began. Yet because humans need emotion and intuition as well as law and order, Sarastro's world keeps the best aspects of the Queen's world: her daughter Pamina, the Three Boys, and the magic flute and bells.

*The Magic Flute is about man vs. woman. Sarastro and his followers define all their values as "manly," while all things "womanly" are associated with the Queen of the Night. "Manhood" equals strength, reason, self-control, steadfastness, and light, while "womanhood" equals passion, intuition, vulnerability, manipulation, and darkness. The entire struggle between the Queen and Sarastro, which Tamino, Pamina, and Papageno are caught up in, embodies the tension between the sexes and all the principles associated with them. As for the resolution, there are two ways of viewing it:

**(a) The story is entirely pro-man and anti-woman. Masculinity triumphs, femininity is defeated. An individual woman (Pamina) can only redeem herself by renouncing her femininity (her bond with her mother the Queen) and aligning herself with masculine principles (joining Tamino in his trials and being initiated into Sarastro's order).

**(b) While the male characters think the solution will be the triumph of man over woman, they're wrong: the true solution is for man and woman to reconcile. The conflict is resolved not by the Queen's defeat (which is almost an afterthought), but by the union of the sexes through Tamino and Pamina. Both the hysterical Queen and the stern Sarastro are too extreme in their feminine and masculine principles, so they can never reconcile, but Tamino and Pamina succeed by loving each other and by balancing the feminine with the masculine (using the Queen's magic flute to survive Sarastro's trials).

*The Magic Flute is about growing up. It's a fantastical version of a Bildungsroman. The Queen of the Night represents the mother, nurturing and indulgent, but smothering if the child stays in her care too long, as personified by Jung's "devouring mother" archetype. Sarastro represents the disciplinarian father, who teaches the child right from wrong and trains him to be an adult. Tamino and Pamina are symbolic children: they start out in the Queen's thrall, like a baby attached to its mother, but then switch to Sarastro and undergo his trials, like an older child who outgrows his mother's apron strings and switches his focus to earning his father's respect. In the end, they achieve a synthesis of both parents, using the Queen's flute to succeed in Sarastro's trials, and are initiated into adulthood.

*The Magic Flute, contrary to popular belief, is a post-Enlightenment work of early Romanticism, which revolves around spirituality. Sarastro and his brotherhood are priests, after all, not scientific philosophers or politicians. Tamino and Pamina's journey involves rejecting not only "nature" (i.e. base instinct, which reigns supreme in the Queen of the Night's realm), but cold, worldly reason too. They learn to "renounce the world," transcend earthly fears and temptations, and achieve unity with the divine. Central to this journey is their love for each other, which transcends mere mating instinct in favor of a mutually inspiring spiritual bond, and the spiritual power of music via the magic flute and bells. The Queen of the Night's downfall is that she seeks worldly power. But Sarastro leads Tamino and Pamina down a more godly path instead.

*The Magic Flute is about the search for love. It revolves around three lonely young protagonists, Tamino, Pamina, and Papageno, whose deepest desire is to love and be loved. At first they look to the Queen of the Night to grant them love, and then to Sarastro. But neither the Queen nor Sarastro can do so, because they're both too detached from love – the Queen in her hatred, Sarastro in his noble yet chilly ideals – and use the young people as pawns in their battle against each other. Yet with help from the ethereal Three Boys, the story's purest embodiments of goodness, they find love in the end. Tamino and Pamina unite and save each other, Papageno finds Papagena despite not having "earned" her, and love conquers all.

**For a more sympathetic view of both Sarastro and the Queen, we can argue that they're both seekers of love too. The Queen loves her daughter and is desperate to get her back, but fails because her love is possessive and selfish. Sarastro's love is an idealistic, detached, universal love for all mankind, which is admirable, yet cold in a way. Tamino and Pamina strike a balance between the two by loving each other in a personal yet generous and unselfish partnership.

*The Magic Flute is a symbolic, proto-Jungian or -Freudian journey through the psyche of Tamino, a young everyman. Pamina is his soul, or his self, whom he needs to find and unite with to be complete. The Queen of the Night is his "feminine" unconscious, who embodies all his powerful and dangerous emotions, which he learns to resist... yet not discard completely, as symbolized by the fact that his soul, Pamina, is her daughter. Sarastro embodies his moral conscience and his noblest ideals and aspirations, which he learns to embrace as his ultimate guides. Meanwhile, Papageno represents his base, "animal" side that cares only for bodily safety and pleasure, which needs to be kept in check (hence Papageno can't be initiated), yet still honored (hence he does find joy with Papagena). And Monostatos represents his darkest and most selfish urges, which his nobler self (Sarastro) must suppress. Tamino's journey with all these aspects of himself represents the process of self-actualization that we all go through.

**With a few small tweaks to this outline, it can also be read as a more gender-neutral journey through the human psyche, with Tamino and Pamina as co-protagonists who represent two halves of one person seeking to unite.

*The Magic Flute is specifically a journey through Mozart's psyche. Tamino and Papageno each reflect aspects of Mozart – his "higher" and "lower" selves, respectively – while Pamina and Papagena likewise reflect his beloved wife Constanze. The Queen of the Night can be viewed as a caricature either of his difficult mother-in-law Cäcilia Weber (as Amadeus indicates) or of her daughter Aloysia Weber, Constanze's sister, whom Mozart once loved and who rejected him. (Make what you will of the fact that the soprano who first sang the role was Constanze and Aloysia's other sister and Cäcilia's daughter.) The trials of initiation into Sarastro's brotherhood reflect Mozart's relationship with Freemasonry, and possibly also his efforts to please his difficult father Leopold. While of course Mozart didn't write the libretto, he put his soul into the music, and he may have influenced Schikaneder enough to infiltrate the libretto too.

*The Magic Flute is just a classic fairy tale of good vs. evil, with some Masonic overtones, which Mozart and Schikaneder wrote as a crowd-pleasing, moneymaking spectacle.

Some of these interpretations I like better than others, but none of them are necessarily wrong.

@ariel-seagull-wings, @leporellian, @tuttocenere, @cjbolan

[admiral-arelami]

Squealing with excitement as I read this new chronicle of Ba'kif. Everyone, please check out this fic by @contentment-of-cats. It has everything you can hope for: Papa Labaki swaddling the bebes, Ziara and Thrawn shenanigans, and of course Pyrondi blowing things up. If you want humor, light angst, and a hopeful ending, it's all here!

Ba'kif: Chronicle of the Ice Bear

For @admiral-arelami by request and with delight. I love me some Ice Bear.

~

When he was Labaki, standing on the cusp of captain and major, he went to Lamiov and had the hardest discussion of his life. He had a new baby daughter, a little blue moonfruit in a fleece cuddler. His wives were many, and his 'Kifies' at oldest were ensigns.

"I do not wish to marry again, or to father children I might have to leave behind." Colonel was next, and unless one fucked up horribly, field rank was after that. "I never want them to see the back of me, and know that I had the choice between family and Ascendancy."

Stybla'ba'kifodo was Blood-Born going nine generations back, honored and honorable, he committed young to the Ascendancy and joined the Marines right out of secondary. Lamiov tried to assure him that whatever happened should he don the white uniform, his wives and babes would be cared for.

Labaki pursed his lips and blinked hard. "But not by me, Patriarch. Not as I promised. If I must break my word to them, let it be with the least pain for them all going forward."

No warm lover next to him in bed, no nest of wives and children sleeping around him safe and warm. No hand on a rounded belly, feeling the life moving within. No sweet-smelling bundle of baby in the crook of his arm, no little one on his knee, no young adult who knew everything rolling eyes at hopelessly old ticsi. No skinned knees, no milestones to celebrate, no star days with cake and delight at toys. Despite his yearning, he would be a piss-poor example of honor and duty if he shirked, but he'd be a father who left if he upheld his duty to the Ascendancy.

Lamiov sighed. "The Universal Analysis Group would take you in a heartbeat. Labaki, it's not all or nothing, nor as binary as you see it."

Lamiov was an optimist, and Labaki loved that about him. However, after rising through the ranks of the army, Labaki had very little optimism left.

"I know my duty, cousin. The Ascendancy needs people in those white uniforms who live their vows, not just give lip service to them."

Lamikav sensed his mood when he came back home, and all his wives gave him a wide berth. He burgled Lataem from her cradle and stole out to the garden with her travel bag. Tae was a 'surprise' baby, the next youngest of his child-herd was starting the sciences junior academy this year, and soon little Tae would be the only one at home. The little moonfruit was fat and round as a baby should be, her deep blue flecked with pink and purple across her cheeks. Her mother, Mir, was a former sky-walker and merit adoptive, and some of her mother's serene demeanor was present in Tae.

Tae made a soft grunting noise and pushed at his chest with an impatient fist once freed from her swaddle.

"I know for a fact you have been fed. You are playing me for a sucker." Unimpressed, his child gave him a look that conveyed an insubordinate 'so what?' and pushed on his chest again. "Fine, fine. You'll make me get up in the middle of the night to burp you when you're so gorged you can't move, then you'll puke all over your Tati."

Labaki took out a nursing pack, broke open the heating element and allowed it to come to the proper temperature.

"I spoke to Cousin Mio. He's trying to convince me to go to the UAG. Part of me wants to, since it means I could stay and watch you grow up." Offering the nursing pack to his daughter, he settled in with her in the crook of his arm. "But that means not standing against things that ought to perish. Patronage, self-dealing, corruption, duplicity. But that doesn't mean anything to you right now. All you want is to be warm, drink milk, and be told you are the most beautiful baby to ever exist."

Her Majesty ignored the flattery and he had to break the latch to slow her down.

"I do not want to leave, but my promotion makes it likely that I will see that white uniform in the next ten to twelve years. You won't be grown by then."

-

Five years later, after the Siege of Bogo Rai, Major Labaki became Colonel Labaki. His family welcomed him home, new honor chains bright on his chest, and a long medical leave to let him heal the rest of the way. His first grandchild, Kiwu'lai'torus, was a fat little moonfruit in a cuddler and Tae was a curly-haired cyclone in the garden, always ready to claim his knee and the only one still of age to do so.

"Baba!"

He could still toss her in the air, only a little unsteady as he caught her on the way down. They could talk over the secure comms, but not see each other. The Chaos disrupted comms signals unexpectedly, and the only true secure method was by using courier ships.

"Some men came to see me after I took some tests at school and a nice lady."

It was unworthy of him not to want his own children to become sky-walkers. He knew that. "What did they want to see you about?"

"I don't know, but I didn't like them. They were all slippery and slimy when they talked. They went away."

Labaki looked at Mir, her lips thin and fists clenched in her robe. "They-?"

Mir shook her head, lashes wet. "They test all children starting at age five up to age seven on entry to primary. It was a decision of the Syndicure and the Admiralty. No exemptions for anyone."

Labaki held Tae close, his heart hammering in his chest. Only command bridge officers and flag rank were supposed to know about sky-walkers, but he had married one. He saw the bodies of two of them carried off the Saber after Bogo Rai.

"But I'm not going." Tae stomped a foot that didn't touch the ground. "The lady said I was too stubborn for induction."

Mir smiled, but it was strained, and Labaki knew the signs of a dazzle headache. He picked up Tae and slung her over one hip, then slid an arm around Mir. "Tae, Mir, come and have a lie-down with me. I'm tired from my trip."

"Will you read to us, Tati?"

"Of course."

It was not until many years later that he understood what 'induction' really meant.

~

The day came.

Ba'kif sent a prayer of thanks to his ancestors that Tae had been accepted to the Academy of Sciences on Sposia and would leave before his ceremony. By now she knew what the white uniform meant. Once he left, his family would mourn as if for his death. Even if he should die in the line of duty, he would have a memorial on Naproar.

"I don't want to go." Tae's arms held to his middle and her tears soaked his shirt. "Can't I stay until it's time for you to go?"

Ba'kif's tears fell on her head. "No, love. I'm sorry. You need to start your life, not cry over mine. When it's time for me to retire, you'll be a grown woman. I hope you'll remember me."

He'd likely end up on Sposia, but not anywhere near the academy. The UAG facilities were the most highly secured in the Ascendancy, much to the irritation of the Syndicure, the Nine, the Forty, and the CEDF.

"I will always remember you. Why do you have to go?"

His heart broke inside his chest. Yai, his oldest, was weeks away from having his first grandchild. His wives would be treated as widows, his children as orphans.

"Because before you or any of your brothers and sisters were born, I made a promise to protect the people of the Ascendancy. When I become a general, after my ceremony, I must protect them all as I would protect you." His voice didn't break, and he could be proud of that. "I hoped that this wouldn't come until you were ready to fly on your own. Please, just remember that I am so proud of you, and love you still so much."

Mir pilots the shuttle that will take Tae and Lamiov to Sposia. When the ramp went down, he bid them farewell, and watched as the ramp went up again, and the shuttle lifted into atmosphere. He said his farewells at the homestead, where the mourning lamps were lit once he left the boundary stones. The Admiralty shuttle waits for him at the CEDF post in the secure section of the spaceport.

~

When he was Supreme General, he got a taste of what it was like to raise young ones again. Only this time the young ones had a Taharim education and were additionally too smart for their own good. He took them aboard his vessel and managed to persuade Ja'fosk to give him a free hand with both Ensign Ziara and Ensign Thrawn. Ziara stuffed Thrawn through a four-year education in three years, and essentially took him everywhere she went like a child with a favored plushie. Wags joked that the boy was the Irizi Blood-Daughter's first command, and that he had a fine future ahead of him as a trophy husband once the Mitth let him go.

After dealing with both of them at the academy, Ba'kif knew that Ziara didn't dare to let Thrawn out of eyeshot. He and Ja'fosk were quick to learn that lesson, and set to making sure that both young officers were crosstrained on every station aboard the Ferocious.

In time both moved on to their own commands, but where Ziara rose high Thrawn stuck at senior captain. Dy'lothe, also known as the Late Admiral Dy'lothe for his habit of getting there when the battle was over, stopped Thrawn's promotion to commodore with Ers'ikaro. Both men openly flaunted their connections with the Syndicure and their allegedly former families - the Clarr and the Dasklo. Both men voted to exile Thrawn, along with Af'arilk, agaainst Ar'alani and Ja'fosk.

Thrawn agreed to the intel insertion from his world of exile, and he'd be picked up in three years. But no humans came to that world for five. Thrawn could rightly believe that he's been abandoned and Ba'kif had broken his word. Indeed, Ar'alani confirmed that for him in a visit to Sposia after his return to being Labaki and elevation to Patriarch.

~

The Syndicure passed down the sentence.

Ar'alani, Ba'kif, and Thrawn would be executed at dawn. Their heads would fall under the sword. The Syndicure under Thurfian and the Admiralty under Dy'lothe had been unanimous. Now they could only wait in their cells as the hours ticked toward dawn. Ba'kif sent farewells to his family that he hoped they'd received. It was unheard of to depose a sitting Patriarch, Indeed, it was tantamount to a declaration of war, but he'd named Tae as his successor and Thurfian would kiss Dhav'uul dealing with her.

The ground shook hard and Ba'kif frowned.

That was not an icequake.

He could hear nothing from his cell, but some hours later the ground shook twice more in quick succession and the lights went out. The north glacier reservoir had been shored up ten years ago to handle excess melt. If it had breached, he wouldn't have to worry about losing his head or even drowning - the water was so cold he'd die of shock.

The door to his cell handcranked open, and a squad of guards gestured him out. One moved to put shackles on him only to be shoved back by the sergeant. He moved slowly - the questioning had been hard on him at the age he was now. He could see two more squads ahead of them, Thrawn on a stretcher and Ar'alani in a four-hand carry. Thrawn opened his eyes, smiled, and closed them again.Ba'kif vowed to peel the skin from Thurfian, Dy'lothe, and all their little brown-nosers, then roll them in salt and stake them alive over ice-roach nests.

They exited the Mitth compound into a dark so thick that Ba'kif could have spread it on toast. If memory served, they were heading toward the commercial spaceport and customs instead of the Admiralty or government center port. He was with Ar'alani and Thrawn in one transport. The guards answered no questions, only drove, through they passed over a medikit when Ba'kif asked for one. Ar'alani and Thrawn were in rough shape.

The headlights of the vehicle picked out something that made him blink.

"That's a Gozanti."

"It's one of theirs," the driver spat. "They interdicted the whole system along with the Stybla fleet. She didn't bother to open communications, but cratered the Syndicure as soon as she was in orbit. Then she did the same to the Admiralty and the Mitth reservoir - drained the whole thing into the agriculture caverns."

Thrawn was smiling and Ar'alani rolling her eyes. "Thrawn. She didn't even open negotiations first."

"You don't even know it was her, Ara."

"Shoot first and ask later. I know who it is."

"Captain Little Dragon of the Chimaera." Pyron'di. "And Commodore Old Lion." Pel'laeon.

Ba'kif shut his eyes and breathed out a long sigh of relief. "I shouldn't have worried, Thrawn. I knew they'd come boiling out after you like a nest of firewasps."

They stopped near the boarding ramp, but Ba'kif was almost bowled off his feet by Tae.

Who yelled at him. Shook him. Cried and hugged him. Yelled at him again. "Sesi's so mad at you!"

Medical crews surrounded each of them as the Gozanti lifted off, escorted by a dozen TIE-D fighters for the quick flight to the Chimaera. Ba'kif didn't fight being laid down in the medsled. He was old, tired, and hoped meanly that the Syndicure had been in session when Pyrondi cratered it.

Once they locked onto the Chimaera's docking ring, the captain came to see them. "We'll be taking the prisoners off first."

"Prisoners?" Thrawn lifted his head and Ar'alani pushed it back down to the pillow.

"Mm. The Nine have been deposed. Thurfian, Zistalmu, the Clarr, Dasklo, and Obbic patriarchs, speakers, and syndics prime have been turned over to-" Tae coughed and looked amused. "Old Lion and Little Dragon." He might have some explaining to do concerning Il'yana, but Ba'kif wasn't too worried. "Tati, the UAG is foaming at the mouth to get hands on those ships not to mention that bac'tah..."

Ba'kif closed his eyes, pain medications easing his injuries, the medics already starting work.

[vaarians]

List of Terms: Chiss Ascendency Edition

(If I missed anything, please add in reblogs; I feel like I've forgotten stuff. Some of these are just assumptions based on the context around them.)

For all your Chiss Ascendency writing/roleplaying needs:

General Terms

Cheunh - Chiss Language

Minnisiat - Trade Language

Tybroic - Ancient language of the Stybla

Chaos - Name for the Unknown Regions by a native

Lesser Space - Main part of the Star Wars Galaxy

Syndicure - main governing body

Nine Ruling Families - head ruling body

Comm - Phone

Questis - Tablet

Data Cylinder - Storage Device

Univers - Universal Currency in the Chaos

Credit Chit - Money

Tube Car - Type of rail transport

Tube Car station - Rail Station

Skycar - Car

Skytruck - Truck

Dayroom - Sitting Room

Yapel - Waffles

Striped Fruit Squares - Poptarts

Nutpaste - a Nut Butter or Spread

Caccoleaf - coffee

Galara tealeaf - tea

Grillig-Juice packet - Capri Sun

Cooker - Oven/Stove

Nyix - Thicker metal used mainly in war ship building

Star Day - Birthday

Lurestick - electronic catch pole

Communication Triad - Three Poled device used to transmit communications across the Chaos. The bigger the Triad, the longer range the communication.

Animals

Yubals - Cows

Packbulls - a different breed of Cow? Donkey? Horse?

Whisperbird - hummingbird

Stingfly - Bee?

Whiskercub - Domesticated Cat

Groundlion - Big Cat

Growzer - Domesticated Dog

Firewolf - Type of Wild Dog

Blinkbirds - Hawk or Predator Bird

Nighthunter - Large constrictor serpent-like creature

Military Terms

Breacher - Missile with acid inside of it

Plasma Sphere - glop of fluid used to disable ships

Spectrum Lasers - Turbolasers tuned to a ship's electrostatic barrier frequency

Crippler Nets - electronic nets used to cripple ships electronics systems

Electrostatic Barrier - Type of ship shield

Gunboat - Starfighter

Missile boat - Starfighter

Heavy Cruiser - Destroyer type warship

Light Cruiser - Smaller warship

Patrol Cruiser - Smaller warship

Nightdragon Man of War - Largest Ship in the Fleet

Defense Fleet - Stays inside the Ascendency Border

Expansionary Defense Fleet - Protects the Ascendency from outside the limits of the Ascendency

Family Fleet - Fleets supplied by one of the Nine Ruling families

Military Ranks

Enlisted Ranks

Cadet

Senior Cadet

Junior Warrior

Mid-Warrior

Senior Warrior

Lieutenant

Lieutenant-Commander

Junior Commander

Mid-Commander

Senior Commander

Junior Captain

Mid-Captain

Senior Captain

Flag Ranks

Commodore

Mid-General

Mid-Admiral

General

Admiral

Senior General

Fleet Admiral

Supreme General

Supreme Admiral

Political Ranks

Patriarch - head of family

Speaker - head of family in the Syndicure

Syndic Prime - head syndic

Syndic - member of the Syndicure

Patriel - handles family business on the planetary scale

Councilor - handles family business on the local level

Aristocra - mid-level member of the Nine Ruling families

Family Ranks

Merit Adoptive

Trial-Born

Ranking Distant

Cousin

Blood

Ruling Families

Ufsa

Irizi

Dasklo

Clarr

Chaf

Plikh

Boadil

Mitth

Obbic

Forty Great Families

Xodlak

Kiwu

Pommrio

Erighal

Stybla

Sayings

"Son of a growzer," - Son of a bitch

[rukafais]

Jarlaxle stuff. The first one is a warmup, the second one is based on some lines from Road of the Patriarch:

when Lolth had magically granted Jarlaxle the memories of his infancy of that fateful night in House Baenre, he had keenly felt his mother’s desperation. How she had ground that spider-shaped dagger on his chest, terrified that the rejection of her sacrifice had portended doom for her supreme House.

[csolarstorm]

Marvel should definitely give Jac Schaeffer more projects. I didn't know she helped write Captain Marvel and Black Widow. In retrospect it makes a lot of sense; both of these movies are personal journeys where the protagonist processes the trauma of heir past.

Still, in my opinion neither movie reaches the level of Wandavision or Agatha All Along. I don't know whether that's due to Marvel not trusting Schaeffer enough to write them by herself (sounds about right, especially as the first female solo movies, Marvel would get weird about it) or maybe it turns out Schaeffer is better at writing TV shows with mysteries that gradually unravel.

It also could be that Schaeffer and/or Marvel figured out how to balance her trauma narratives within a more lighthearted fantasy setting where she can couch it in more digestible metaphor. Black Widow was about human trafficking - no amount of funny Russian fake dad jokes could make that go down easier. Although now that I say it, that movie did involve an artificial TV family like Wandavision - I guess this is a hallmark of Schaeffer's writing?

Captain Marvel on the other hand had maybe too many allegories. Yeah it was about breaking away from patriarchal gaslighting, but then there was PTSD from war, or maybe even recovery from brain damage? It's a bit hard to tell at times, there's just a lot. I suppose there's a contrast between the artificial Supreme Intelligence and the very real female captain Mar-Vell that might serve as the recurring "TV versus real life" motif in Schaeffer's other projects. Captain Marvel was made as a 90's alien invasion movie after all.

Meanwhile something both Wandavision and Agatha All Along share is that they use tropes from TV and other media to express trauma in a fun, and unsettling, discordant way. Wandavision will be having a genuinely great time indulging in 60's sitcom when, oh no, it's actually escapism, and Wanda cannot escape the fact that Vision is dead. Horror ensues. Agatha will be in a crime drama where she's solving a case, only it turns out that the case is a metaphor for her barely lucid attempt to piece together the fragments of her memory after the cruel and unusual punishment Wanda inflicted on her. Horror returns. And the crime drama atmosphere will both fit the vibe of her tragedy and at the same time be a genuinely fun crime drama parody. Escapism is both fun and heartbreaking.

So I hope Jac Schaeffer does more of this kind of show, because she's nailing it. And give her another chance at more movies and this time trust her. It's a shame Schaeffer couldn't fit Vision In A White Void Vision Quest into her schedule.

[haggishlyhagging]

“The shift in consciousness we must make occurs in two steps: we must, at least for a time, be woman-centered. We must, as far as possible, leave patriarchal thought behind.

TO BE WOMAN-CENTERED MEANS: asking if women were central to this argument, how would it be defined? It means ignoring all evidence of women's marginality, because, even where women appear to be marginal, this is the result of patriarchal intervention; frequently also it is merely an appearance. The basic assumption should be that it is inconceivable for anything ever to have taken place in the world in which women were not involved, except if they were prevented from participation through coercion and repression.

When using methods and concepts from traditional systems of thought, it means using them from the vantage point of the centrality of women. Women cannot be put into the empty spaces of patriarchal thought and systems—in moving to the center, they transform the system.

TO STEP OUTSIDE OF PATRIARCHAL THOUGHT MEANS: Being skeptical toward every known system of thought; being critical of all assumptions, ordering values and definitions.

Testing one's statement by trusting our own, the female experience. Since such experience has usually been trivialized or ignored, it means overcoming the deep-seated resistance within ourselves toward accepting ourselves and our knowledge as valid. It means getting rid of the great men in our heads and substituting for them ourselves, our sisters, our anonymous foremothers.

Being critical toward our own thought, which is, after all, thought trained in the patriarchal tradition. Finally, it means developing intellectual courage, the courage to stand alone, the courage to reach farther than our grasp, the courage to risk failure. Perhaps the greatest challenge to thinking women is the challenge to move from the desire for safety and approval to the most "unfeminine" quality of all—that of intellectual arrogance, the supreme hubris which asserts to itself the right to reorder the world. The hubris of the god-makers, the hubris of the male system-builders.”

-Gerda Lerner, The Creation of Patriarchy

[bossbutch]

halfway thru chapter 1 of umineko. idk how meaningful it is to speculate this early, The Real Umineko hasnt even properly started. these arent fully thought out and organized it's just scattered thoughts

battler's gender politics are entertainingly weird. he's like "when i meet a woman, even if she's my cousin or my servant, i NEED to make a big show of grabbing her tits so that she can hit me and everyone will laugh at the Classic Gag and it'll lighten the mood" which is just ridiculous enough to be something a rich teenager in the 80s could convince himself is okay. and then he sees the dinner seating and he's like "damn my family's so patriarchal. thought gained: inexplicable feminist agenda". i'm assuming this is a genre deconstruction thing. also lol that he is right next to maria in grandpa's tier list

maria is awesome btw i hope she gets to infodump about magic a lot more. some goon in the SA thread said the umineko author was once a social worker, so like. even if they don't use the word because it's japan in the 80s she's gotta be Intended as autistic

kinzo's room is so telegraphed to be a locked room mystery. he's entertaining too but i kinda zone out when he's talking about how his magic system works. i get the basic of more risk = more magic power but i worry it's the kind of thing that has Important Clues that my brain autofills with [arcane rambling]

battler constantly gasses up how good george is with kids and then george sees a family member repeatedly hitting their 9 year old disabled child and says, out loud, "not my problem"

assuming the epitaph is a puzzle intended to be solved and not the kind of puzzle that frames all the other puzzles and isn't solvable til the end: until the first butterfly i thought all the death and traveling was metaphorical. it still could be. like the six chosen by the key could be objects. the hands of a clock may be involved because that's in all the promo stuff and chapter start art. kinzo acted like the riddle was totally solvable by the doc or kanon or any of his kids. but if it was unsolvable until People Started Dying, it seems kinda pointless to have put the painting up years ago? but beatrice is a Dramatic Bitch.

Who Took The Rose?! no idea, but i'm sure it's important. if there's a 19th person, definitely them. totally possible the wrapper fell off but they'd still recognize the withered rose i reckon

Who Gave Maria The Umbrella?! again, if there's a 19th person, it's them. if not, natsuhi was my prime suspect because her alibi didn't have any witnesses but everyone else's did (if you really count grandpa and the doctor, like doc could easily say "i was with kinzo" and no one would verify that with kinzo). but then there was a scene right after from natsuhi's pov (migraine and can't sleep without meds, literally me) where she speculates who did it. so either the narrative is heavily fucking with me, it's gramps or the doctor, or it's someone with an accomplice

the narration is from battler's pov except when it's not and it's strange. it even isn't from his pov in some scenes that he's in, like the letter reading scene. this is the type of thing that could Mean Something way later but is just a little confusing sometimes right now

kyrie saying there's a contradiction in beatrice showing herself to maria but hiding from everyone else, failing to consider beatrice may be a Dramatic Bitch. i think there's probably a 19th person even if they are not necessarily a witch with magic powers

the furniture being totally able to break promises but can't disobey orders is the kind of exact words semantic sillies that umineko memes made me expect

goes w/o saying that the way the servants are treated is supremely fucked up. going to servant school and then working in the mansion at age six... george proposing to a girl that he has so much power over is lol. it's nice that umineko cares who the servants are and why they're there, and other logistical human things like how kinzo made his money and what they're all doing with it

at midnight, where was the doctor?

they drop some hints that the non-shannon, non-krauss bodies have their faces disfigured and Could be other people but that is pretty ridiculous and there's no reasons to consider that yet

i wish the LP used the doughy original art but that's the price i pay for convenience

[aishabellasbigblogofeverything]

My post about hating the Barbie movie and how it actually spat in the face of feminism and all that the franchise stands for is done and dusted, I'm afraid, but that being said there are still some points I left out of it that I would like to address, and I will do so here:

The movie portraying women as hopeless endless victims who have no hopes of succeeding or getting what they want out of life is bad enough, but there's a brief blink-and-you'll-miss it scene where Barbie is taking Gloria and Sasha back to Barbieland, and as they're on the spaceship, she says to them that women control everything and have all social and political power, which is fine...but THEN she goes "basically everything men do in your world, women do in ours" and that...that line just makes me so appalled and angry I could SPIT. Like you're really spelling out that you think women in the real world have no power or control in any aspect of society? I understand that it's supposed to be "commentary"(it's not good commentary tho) and that the real world IS a patriarchy, but we HAVE women in power in our world too! We HAVE female Supreme Court Justices! We HAVE women in high office! We HAVE female mayors and CEOs! We HAVE women in positions of power and leadership, period! And yet Barbie creates this illusion that women in our world such as Sasha and Gloria would have NO knowledge of or point of reference for women in power who do any important shit at all; it's completely fucking absurd. But then again, this movie was written and directed by a white feminist. A white feminist, who, like all white feminists, has a complete miserable victimhood/defeatist complex. So of course she projects it onto her female characters(even female characters of color, who are ofc SUPPOSED to be more sad and let-down than SHE is!), like the sad, pathetic fuck she is. And y'all wonder why I hate persecution flips so much. We need to shove that bullshit trope six feet under. If you want to tell a story about the patriarchy, then FUCK, WRITE ABOUT THE ACTUAL GODDAMN PATRIARCHY!!! Don't just do this nonsense "uwu what if men were the oppressed ones and women were the privileged--" no. Stop. Cut it the fuck out. This is getting ridiculous.

This part is probably incidental but fuck that, I'm still gonna knock it. Sasha and Gloria never actually get to experience the matriarchal utopia, and I just find that so depressing. Despite the bleak and frankly miserable lives that they lead, they never get to experience the escapist freedom of living in a society in which they are in charge, where womanhood isn't looked down upon and is in fact honored, where they have power and aren't in danger of being stalked, followed, or killed by men just for walking down the street. They leave their patriarchal world, hoping to see a world that is better, and instead enter a world that is just as bad and equally as patriarchal as the one they tried to escape from. It's truly depressing, especially for Gloria who specifically wanted to get away from her anxieties with real life and just have fun with her daughter for a bit. Instead she has to be confronted with ANOTHER patriarchy, watch the childhood doll she loved and played with have a panic attack and give up on life just like she did, and then give her infamous, cliche, and paint by numbers "being a woman is suffering" corny as hell speech. Before reinventing the matriarchy and getting her power back only by leaning in to patriarchal stereotypes about women's bodies and sexualities. And then leaving back for her regular patriarchy world without getting to experience any of it. It's almost like the movie was literally saying that women will never be able to free themselves from patriarchy and that a better world than this one does not exist. Patriarchy is insurmountable and all-prevailing, says this movie. It's truly tragic.

And honestly, with regards to that shitty ass clusterfuck of a speech, isn't it like, so totes ironic, that part of Gloria's speech is her complaining that women have to apologize for men's bad behavior...only for the "happy" ending of the movie to involve BARBIE HAVING TO APOLOGIZE FOR KEN'S BAD BEHAVIOR?!?!!??!?! Like no one fact-checked that shit and went "wait, something ain't right"? Are you fucking kidding me?!?!?!?!?! I hate that scene with every fiber of my being and realizing this makes me hate it even more now. Just, ugh.

Tldr: Fuck this movie, but then again, I've said that shit like...several times before. lol.