#that will allow them to establish their artistic identity
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myung jaehyun is absolutely, hands down, the best leader for boynextdoor.
I always stand by the leader of groups being the best leaders for their groups, but it’s definitely a role that they have to grow into and improve constantly on. just like any other position in the group. just like any other thing you do.
that said, until the fanmeeting, I didn’t quite have the words to truly express why I feel so strongly about jaehyun’s role as the boynextdoor leader—especially as I think to a lot of non-onedoor, it can seem a bit confusing or not apparent at first. which mostly comes from jaehyun sitting outside the norm for a leader (particularly in hybe bgs) at least in personality.
jaehyun is loud. that’s like… something well known about him. he’s talkative and playful and despite being shy, he’s definitely the kind of person to enter the room knowing no one and leave with at least 5 new friends. his approach to people is one that feels very open and bright.
for this reason, I do think many people might not first associate him with the leader role. with most groups, the most energetic member is probably not the first considered as “oh yeah that’s the leader”. jaehyun is all the playful and energy-filled that usually comes with the member who the leader needs to keep an eye on the most and eventually has a bunch of youtube compilation videos.
that said, these qualities are exactly why I think he makes such a great leader for boynextdoor. as mentioned in the fanmeeting day 2 ending ments, the members of bonedo are the type of people to put up a straight face and keep their struggles to themselves. as woonhak and they have expressed, an example being woonhak putting on a smile and performing, despite dealing with grief. they’re very much the people to not make their problems someone else’s and to maintain a collected image in front of others.
while I also think jaehyun does this, as most people who are leaders may tend to for the sake of their groups, he’s also very very very unapologetically himself. he feels so much. his tendency to cry being a prime example of that, though not the only. the point is that jaehyun is expressive and open and in this, jaehyun contrasts with his members.
as woonhak has stated before, jaehyun has expressed that it’s okay for him to cry, to need to take a break, to sit this one out. jaehyun in general approaches his members with a lot of care. but overall, the stand out is that I believe jaehyun navigates along the lines of… feelings are meant to be felt. he has no qualms with any emotion being felt the way it occurs to us. yes there are ways to handle them, but ultimately, the feeling—whatever it may be—is there to be felt and expressed.
this is also seen in how he interacts with his members. in his very tactile approach to express the love and care he has for the rest of bonedo. the pride he feels for them. whatever words I’m not able to formulate to describe the whole yeppi exchange between him and sungho in the 3rd comeback show special.
it’s also in his loudness and energy. it’s all about expression. he’s so much, but it only feels that way, in my opinion, because he’s overwhelmingly unafraid and unapologetic of being himself, in a way that the industry might otherwise discourage. he’s not against expressing how he feels and while it likely won’t be the most apparent until later in their careers, I do think he’s the type to speak his mind.
all that said, the point is that these qualities do exist in contrast to his members and thus… encourage them to do the same. maybe not to be speeding around all over the place, but rather to allow themselves the space and time to feel as they do. that they don’t have to keep it all inside to avoid making it other peoples problems. they’re a team, if nothing else. and it’s in jaehyun being so so so much himself, being exactly the person he is, not something specially crafted to fit a particular image, he encourages the other members to be the same.
jaehyun helps to curate a safe space within their group by exhibiting that there’s nothing wrong with being the person they are. to feel whatever they feel. to express when things are going good or bad or somewhere in between. to approach things as they come and take them in stride, even if it’s without prior planning. that if a leader is meant to push a group forward and help them grow, then jaehyun steps up to the plate in that art cannot be made without emotion and so to become better artists, to continue being artists, it’s so important to find the safe spaces of being able to express and feel everything as they should be felt.
this is why I think jaehyun has some of the strongest lyricism currently in the group. it’s why I think he was a powerful force coming into KOZ and bonedo, and sort of the missing piece. he feels so much and he allows himself to feel all of it. in turn, as the leader, it’s something he encourages in the members. it’s leading by example. jaehyun builds a safe space for them to express, by being open himself.
but beyond that, jaehyun being unapologetically himself becomes an unstoppable sort of barrier between the group and outside the group. while not as apparent now, I do think it’ll grow into him being a strong adovcate for each of the members and the group as a whole. the group matters to him. his members matter to him. jaehyun’s never going to act as if they don’t, so long as they do. as such, he’ll put them first. he’ll encourage them and their best interest. he provides space and works to create and maintain that space for them to express themselves and be themselves. it’s what makes jaehyun the best leader for bonedo now, and it’s what will allow him to continue to do so.
#boynextdoor#myung jaehyun#not door agenda#from behind the door#about the neighbors#worm leader#disclaimer is that i’m sick and writing this so idk if it’s actually very cohereant#the thoughts were clearer yesterday#but anyways#the point is that in the very way jaehyun contrasts from the group#is the way he leads them the best#and that comes with everything jaehyun is#and how unwaveringly jaehyun is exactly the person he is#that encourages the members to do the same#that he reminds them feelings are there to be felt#bc i think particularly in kpop#leaders don’t necessarily need to be the ones wrangling the group together when they’re running all over the place#they’ve got managers for that LMAO#they’ve got eldest members for that#like yes it often is the leader but that doesn’t need to be the case#in bonedo it’s probably jaehyun who needs to be brought back to topic#but it’s like bonedo doesn’t need to be lead in terms of navigating idol image#they don’t need to be directed on what they can or can’t say or do#they seemingly have enough training to know#it’s moreso being guide towards the opposite… in a sort of… expressing themself way#it’s being able to tap into what makes them different and everything they feel and how they each feel that differently#that will allow them to establish their artistic identity#and i think jaehyun’s a very strong component for them being able to do so
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sorry to ask, but can you explain your last post to someone who knows nothing about the musician community youre talking about... it sounds like a really really good post if i just understood it better
this is another one of those posts where I'm transcribing a stream of consciousness, so I'll throw in a courtesy readmore
the musician community, as a whole, is much more segmented than the visual artist community
this leads to good and bad things, but generally it allows for more awareness of one's position and an acknowledgement that the needs of an underground folk artist are going to be different than the needs of a composer who receives a name credit. this means there is always going to be heavy pushback when someone tries to impose ethics downward
one element of this is the inward acknowledgement that the monolithic musician community isn't actually real in a way that isn't really mirrored in the visual artist community. besides making music and navigating the financial (and legal) landscape of that, there is very little that intrinsically unites musicians
this acknowledgement allows discussions about concerns among poorer musicians to exist without being completely shut down by someone who has different concerns, because they're not seen as the subject of the discussion unless they are respectfully contributing to it
one big reason for this being possible is that musicians are less respected than visual artists in the professional world
that might sound absurd if you only know of one landscape, but think of how many game (and movie, and tv, and etc. etc. etc.) franchises with identity-defining composers go on to swap out the composer at the first sign of a labour dispute, to very little protest as long as the quality of music isn't seen as dropping
hell, if someone else can copy your style satisfactorily, there's often no fuss at all! this leads to a pretty violent disillusionment with your place in the creative world
even beyond that, there exists an entire industry based around creating a parasitic body of IP landlordism for anyone whose music isn't attached to another product. the musician is, in a way that is deeply and thoroughly beaten into them, a labourer
the visual artist community (until recently) didn't tend to have this disillusionment, so it often follows the sway of its most popular and established members
in fact, the modern visual artist community as a broad cultural body is carved almost entirely from social media discussions that treat the community as one entity. accordingly, becoming established basically requires participation in this online entity
to further poison the well, the position of a visual artist is regularly talked about in spiritual terms rather than labour terms. there is something special that makes you a visual artist. it's the exact mentality that people rightfully made fun of in those ordinary people vs creative people comics. it's the unspoken cultural assumption that natural talent exists, even if most people would deny believing in it if put into explicit terms
while this does feel very good, it means that acknowledging labour-originated conflicts of interest is a bit rude
when a community unites itself around a spiritual core, it can't properly assert "your experiences are not applicable to what is being discussed and you should not be imposing yourself" because, by all metrics, an artist is a fundamentally unique demographic that can speak in all conversations about art
it's a warped form of anti-gatekeeping, a one-way gate through which you can strike down at other poor artists, but not up, enforced from below and framed as a desire for openness
the visual artist community's relative homogenisation of popular consensus is, on the whole, very very very bad for what it does to its norms. it hashes out and legislates within itself with an unspoken assumption that its most prolific members are simply further along the artist lifecycle, and therefore the most trustworthy
discussions with direct parallels ("is it okay to be obviously influenced by someone else's style?") come to much hazier conclusions which lean towards the opinions held by people with the most followers
most egregiously, this manifested in how visual artists react to piracy
the past ten years (in large part because of patreon making viable the paywalling of material behind a regular subscription) have been consumed by arguments about piracy that all seem to terminate in the assumption that piracy is theft, with little stratification of opinion between the hobbyist and professional scenes on this matter
this assumed spiritual core of the community is felt strongly in every conversation. look at the difference in attitudes around the distribution of cracked VSTs and the distribution of brush packs. hell, even on the corporate level, look at the difference in attitudes around pirating DAWs vs visual art programs
even when people are implying an approval of piracy, they find ways to frame it from a position of revenge on a company for something wrong it did, because they still need to conform to the community understanding of piracy as theft
individual visual artists can be (and often are!) more conscious of this stuff, but even then, people react with shock when these visual artists aren't horribly concerned about the possibility of their paywalled work existing on a torrent site
in a word, if you can see the ways these conversation spaces are different and similar, it's all so exhausting
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Chiron Throughout The Houses: ⚷
In astrology, Chiron represents our deepest wounds and vulnerabilities. Also known as the "wounded healer," this asteroid shows where we face challenges but also where we can grow and heal. 🦋



❀˖° ❀˖° ❀˖° ❀˖° ❀˖° ❀˖° ❀˖° ❀˖° ❀˖° ❀˖° ❀˖° ❀˖° ❀
💎🕊️ 1st House ~ Chiron in the 1st house signifies wounds related to self-identity and personal expression. Individuals with this placement may struggle with their self-image and confidence. Their early experiences may have involved criticism or rejection, leading to a deep-seated sense of insecurity. This can manifest in challenges with asserting themselves and embracing their true identity.
✨ The Healing Process: Focus on self-acceptance and building confidence. Engage in self-care practices and explore your identity through creative expression.
˗ˏˋ ★ ˎˊ˗ ˏˋ 🍊ˎˊ˗ ˏˋ ★ ˎˊ˗ ˏˋ 🍊ˎˊ˗ ˏˋ ★ ˎˊ˗ ˏˋ 🍊ˎˊ˗
💎🕊️ 2nd House ~ Chiron in the 2nd house indicates wounds related to self-worth and material security. Individuals with this placement may struggle with feelings of inadequacy and value, often tied to financial issues or parental influences regarding money. They might experience insecurity about their possessions and self-esteem, leading to a deep desire for stability.
✨ The Healing Process: Work on recognizing your intrinsic worth. Practice self-love and develop a healthy relationship with money and possessions.
˗ˏˋ ★ ˎˊ˗ ˏˋ 🍊ˎˊ˗ ˏˋ ★ ˎˊ˗ ˏˋ 🍊ˎˊ˗ ˏˋ ★ ˎˊ˗ ˏˋ 🍊ˎˊ˗
💎🕊️ 3rd House ~ Chiron in the 3rd house signifies wounds related to communication and learning. Individuals with this placement may struggle with expressing their innermost thoughts and feelings, often feeling misunderstood or dismissed. Early experiences, such as criticism in school or at home, can lead to difficulties in effective communication and confidence in sharing ideas.
✨ The Healing Process: Improve communication skills by journaling or joining discussion groups. Embrace your voice and share your thoughts with others. Your voice matters and you deserve to be heard.
˗ˏˋ ★ ˎˊ˗ ˏˋ 🍊ˎˊ˗ ˏˋ ★ ˎˊ˗ ˏˋ 🍊ˎˊ˗ ˏˋ ★ ˎˊ˗ ˏˋ 🍊ˎˊ˗
💎🕊️ 4th House ~ Chiron in the 4th house indicates wounds related to home, family, and emotional security. Individuals with this placement may have experienced instability or conflict within the family, leading to deep-seated issues around belonging and nurturing. They might struggle with feelings of inadequacy or emotional vulnerability stemming from their upbringing.
✨ The Healing Process: Heal family wounds through open dialogue and emotional expression. Create a safe and nurturing home environment by expressing any emotional needs or boundaries.
˗ˏˋ ★ ˎˊ˗ ˏˋ 🍊ˎˊ˗ ˏˋ ★ ˎˊ˗ ˏˋ 🍊ˎˊ˗ ˏˋ ★ ˎˊ˗ ˏˋ 🍊ˎˊ˗
💎🕊️ 5th House ~ Chiron in the 5th house reflects an inner child wound related to creativity and self-expression. Individuals with this placement may have felt unsafe or unaccepted during childhood, leading to struggles in expressing their authentic selves. This often resulted in suppressed creativity and self-doubt, making it challenging for them to embrace their artistic potential.
✨ The Healing Process: Reconnect with your inner child through creative activities. Allow yourself to play and express your true self without fear.
˗ˏˋ ★ ˎˊ˗ ˏˋ 🍊ˎˊ˗ ˏˋ ★ ˎˊ˗ ˏˋ 🍊ˎˊ˗ ˏˋ ★ ˎˊ˗ ˏˋ 🍊ˎˊ˗
💎🕊️ 6th House ~ Chiron in the 6th house signifies wounds related to health, work, and daily routines. Individuals with this placement may experience challenges with self-care, often feeling overwhelmed by responsibilities or perfectionism. They might struggle with physical health issues or become overly critical of themselves and others in work environments.
✨ The Healing Process: Prioritize self-care and establish healthy routines. Learn to balance work and personal life and practice self-compassion.
˗ˏˋ ★ ˎˊ˗ ˏˋ 🍊ˎˊ˗ ˏˋ ★ ˎˊ˗ ˏˋ 🍊ˎˊ˗ ˏˋ ★ ˎˊ˗ ˏˋ 🍊ˎˊ˗
💎🕊️ 7th House ~ Chiron in the 7th house indicates deep wounds related to intimate relationships. Individuals with this placement may struggle with commitment issues and often attract toxic relationships. Their experiences may stem from childhood, where they could have faced the loss of a parent, divorce, or constant fighting between their parents, resulting in a lack of peace in their early environment.
✨ The Healing Process: Build healthy relationship boundaries and work on trust issues. Seek supportive connections and address past relationship traumas with a safe partner.
˗ˏˋ ★ ˎˊ˗ ˏˋ 🍊ˎˊ˗ ˏˋ ★ ˎˊ˗ ˏˋ 🍊ˎˊ˗ ˏˋ ★ ˎˊ˗ ˏˋ 🍊ˎˊ˗
💎🕊️ 8th House ~ Chiron in the 8th house indicates wounds related to intimacy, trust, and transformation. Individuals with this placement may struggle with issues surrounding vulnerability, fear of abandonment, or deep emotional connections. They might have experienced trauma related to loss, betrayal, or power dynamics in relationships.
✨ The Healing Process: Explore intimacy and vulnerability. Engage in therapy or support groups to confront fears around emotional connections.
˗ˏˋ ★ ˎˊ˗ ˏˋ 🍊ˎˊ˗ ˏˋ ★ ˎˊ˗ ˏˋ 🍊ˎˊ˗ ˏˋ ★ ˎˊ˗ ˏˋ 🍊ˎˊ˗
💎🕊️ 9th House ~ Chiron in the 9th house signifies wounds related to beliefs, philosophy, and the quest for meaning. Individuals with this placement may struggle with issues of faith, higher education, or cultural identity, often feeling lost or disconnected from their beliefs. They might have experienced challenges in finding their place in the world, leading to existential doubts.
✨ The Healing Process: Expand your beliefs through travel, education, or spiritual practices. Embrace new perspectives and seek meaningful experiences.
˗ˏˋ ★ ˎˊ˗ ˏˋ 🍊ˎˊ˗ ˏˋ ★ ˎˊ˗ ˏˋ 🍊ˎˊ˗ ˏˋ ★ ˎˊ˗ ˏˋ 🍊ˎˊ˗
💎🕊️ 10th House ~ Chiron in the 10th house indicates wounds related to career, public identity, and authority. Individuals with this placement may struggle with self-esteem in professional settings, often feeling inadequate or fearing failure. They might have experienced criticism or unrealistic expectations from authority figures, leading to doubts about their abilities and aspirations.
✨ The Healing Process: Define your own version of success. Embrace your career path with authenticity and challenge limiting beliefs about your abilities.
˗ˏˋ ★ ˎˊ˗ ˏˋ 🍊ˎˊ˗ ˏˋ ★ ˎˊ˗ ˏˋ 🍊ˎˊ˗ ˏˋ ★ ˎˊ˗ ˏˋ 🍊ˎˊ˗
💎🕊️ 11th House ~ Chiron in the 11th house signifies wounds related to friendships, community, and ideals. Individuals with this placement may struggle with feelings of alienation or not fitting in, often experiencing challenges in forming deep connections with others. They might feel misunderstood or rejected by their social groups, leading to self-doubt regarding their self-worth.
✨ The Healing Process: Seek out supportive communities that align with your values. Work on building authentic connections and addressing feelings of alienation.
˗ˏˋ ★ ˎˊ˗ ˏˋ 🍊ˎˊ˗ ˏˋ ★ ˎˊ˗ ˏˋ 🍊ˎˊ˗ ˏˋ ★ ˎˊ˗ ˏˋ 🍊ˎˊ˗
💎🕊️ 12th House ~ Chiron in the 12th house indicates wounds related to the subconscious, spirituality, and isolation. Individuals with this placement may struggle with feelings of isolation, self-sabotage, or hidden traumas that affect their emotional well-being. They might have difficulty confronting their vulnerabilities or may feel overwhelmed by the suffering of others.
✨ The Healing Process: Explore your subconscious through meditation, therapy, or creative outlets. Embrace solitude and work on healing hidden traumas.
༻✦༺ ༻✦༺ ༻✦༺ ༻✦༺ ༻✦༺ ༻✦༺
~ Information about personal readings coming in the near future. Xo Kiki 💕
©𝚊𝚜𝚝𝚛𝚘𝚜𝚘𝚞𝚕𝚍𝚒𝚟𝚒𝚗𝚒𝚝𝚢 𝙰𝚕𝚕 𝚁𝚒𝚐𝚑𝚝𝚜 𝚁𝚎𝚜𝚎𝚛𝚟𝚎𝚍.
#chiron astrology#astrology#astroblr#zodiac#birth chart#natal chart#astro placements#chiron#spirituality#shadow work#healing journey#astrology houses#astrology posts#trust the universe#ask me anything#555
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Girlfriend Wars [Fred Weasley]
(Gif not mine)
Title: Girlfriend Wars
Pairing: Fred Weasley x Gryffindor!reader (established relationship) & George Weasley x Angelina Johnson (established relationship)
Timeline: Non-specified, though I imagined it set after Goblet of Fire.
Summary: Angelina Johnson, girlfriend of George Weasley, struggles telling her boyfriend and his twin brother apart. Reader, girlfriend of Fred, does not. Only a game of blind testing can determine who is better at telling the twins apart.
Warnings: Mentions of sexual acts, though no graphic description or smut is used, established relationships. Pretty much fluff.
As always, I’ve used artistic license to allow access to both dorms, regardless of sex, for the benefit of the story.

There were many things you loved about your boyfriend Fred being an identical twin, especially as you were so close with his slightly younger brother; constant companionship, lifelong friendship, dual protectiveness that couldn't be matched. On the other hand, there were a few things you disliked entirely; the inability to find much alone time and the constant fear of being walked in on (this was more due to them sharing a room and a dorm... but it still counted).
The thing you hated most of all however, was people mistaking your boyfriend for George. And by people, specifically George's girlfriend Angelina. How the hell she couldn't tell her own boyfriend apart from his twin brother baffled you completely.
Fred's reaction to her constantly mistaking her for his brother did however amuse you enough to make up for any grievance you had on the matter.
You were sat in the common room long after classes had finished, Harry, Ron and Hermione sat on one sofa, Ginny and you sat on the other. Fred was talking to Lee and some first years over in the corner, no doubt plotting something or making a deal you didn't want to know about whilst George had ran up to their dorm to fetch something relating to their scheme. You all flickered your eyes over to the sound of the door opening and saw that Angelina, Alicia and Katie had walked in, books in hand, as they made their way into the room.
You followed her diligently with your eyes as she headed straight towards Fred with a smile on her face. Both Lee and Fred had begun walking back over to you, Fred pocketing a few sickles into his trousers with the smug smirk on his lips. As she approached him in the middle of the common room, he briefly looked up at her and without hesitation he bluntly said "nope," and carried on walking back over to your group. She stood dumbfounded for a few moments, shocked at the sudden rejection until Fred dropped down onto the sofa between you and Ginny and threw his arm around you, not even slightly fazed by her. You had to bite your lip not to laugh at Fred's blunt delivery and her following reaction, much like Ginny who had watched the entire thing and was trying to cover her mouth with her hand to stifle the giggles threatening to spill out.
George had walked down the stairs carrying their briefcase only a few moments later and smiled at his girlfriend who stood there with an almighty awkward expression. George absently threw the briefcase over to Fred who luckily caught it before it could hit anyone as George went to go kiss his girlfriend, blissfully unaware of the situation that had just nearly unfolded. Ginny walked off at this point to join Harry and Ron after her brother had called her over, sitting on the floor in front of Hermione as they conversed. Fred threw down the briefcase onto the now vacant seat beside him and shoved the sickles he'd made into the little velvet coin pouch before closing the briefcase.
"How does she get so confused?" You asked out loud, quiet enough so that only Fred could hear. "You don't even look the same."
Fred turned to face you and gave you a look of utter confusion at your statement, declaring that he and his identical twin didn't look the same, "are you joking?"
"No," you laughed, though it was true. You'd spent so much time with both the twins that you were able to tell them apart easily.
The truth was that you'd developed feelings for Fred early on in your friendship and those feelings had caused you to finally tune your ability to tell them apart, never wanting to be caught staring or flirting with the wrong twin. Over time, you had begun to notice all the differences between them that only seemed to be exaggerated as they grew up and now to you, you could hardly see them as identical anymore.
"You look more like Percy," you joked, deadpan in expression. Fred immediately took offence and lunged at you, tickling you into submission as he laughed at your squirming body. Tears threatened to spill at the intensity of the tickles as Fred knew the exact spots to target to make you relent.
"Seriously though, you don't look remotely identical to me," you said after you'd recovered and caught your breath. A familiar, foreboding twinkle suddenly appeared in Fred's eyes, which from experience you knew meant something potentially dangerous was about to happen.
"Oi Georgie!" Fred shouts as he looks over towards his brother who was still stood with Angelina, smiling and whispering cutely to each other. George whips his head round to look at the mischievous brother with a questioning gaze. "I've had an idea." Never a good thing to hear come from Fred Weasley's mouth, you thought.
George made his way over to you both almost immediately, trailing Angelina with him by their interlocked hands. "Sup Freddie?"
"My girl says we don't look identical, I think we should put it to the test," Fred says with his trademark smirk, casting a wicked glance at you as he slings his arm back around your shoulders.
"What do you mean not identical?" George says in bewilderment as he looks at you. You shrug in reply, unfazed and unashamed of your statement. Surely it shouldn't be a surprise to him, you'd been foiling their attempts at switching places many times over the years, never believing them when they actively tried to persuade you that the one wearing the G jumper was George and the alternative when you knew for a fact it was not.
"What do you say? Girlfriend test!" Fred says, pointing between you and Angelina. You cast a glance at Angelina who looked absolutely mortified by the proposition, clearly unsure of her ability to differentiate between to the two. You on the other hand laughed at the suggestion, thinking it could actually be quite fun.
"Yeah wicked!" George laughs, sharing a look at his brother before turning towards his girlfriend and immediately seeing her trepidation, "unless you don't want to." Angelina looks towards you and sees that you are clearly up for the challenge with your smile.
"Uh sure," she says nervously, feigning a smile towards her boyfriend. You turn to Fred and share a knowing glance at each other, knowing she wouldn't have the faintest chance of winning, she could barely tell them apart right next to each other.
"Jordan you're referee," George says, calling over Lee who seemed to unquestioningly fall into line with their plan, just as usual.
It takes all of five minutes to arrive at the boys dorm where you would conduct your little game, away from the prying eyes and ears of the other students. You and Angelina were sat on two wooden chairs in the middle of the messy room, awaiting orders. You were laughing at something Lee said as he prepared notes, taking his role of referee very seriously whereas Angelina was sat quietly with a smug smile on her lips, apparently finding her confidence.
"Right, Angelina you are contestant A, y/n you're contestant B. Winner gets to chose their own prize. Rule number one, no hard feelings whatever happens," Lee says, looking towards all of you as you nod. "Rule two, no inappropriate touching or contact with the other brother's girlfriend." Again, earning a very honest nod, each of you knowing the clear boundaries there. "Rule three, um, I guess that's it really. I'm keeping score, ladies, blindfolds on." He handed out two spare house ties to both you and Angelina and your respective boyfriends began to tie them around your eyes so that you would be completely blindfolded. You could hear George and Angelina struggling with the task, no doubt because of George's stumbling and nerves, catching Angelina's hair in the bind. Fred however, had no issues getting you blindfolded, and had even leaned down into your ear to teasingly whisper, "this is familiar princess", earning him a not so gentle shove to shut him up which he laughs at.
"Okay, girls what number am I holding up?" Lee asks, checking that you couldn't see anything.
"Umm 4?" Angelina replies, taking a wild guess and sounding unsure of herself.
"How do I know? I'm blindfolded you tosspot," you joked, earning a laugh from all three boys in the room but not from the girl beside you. You felt a hand on your shoulder briefly, knowing that it was Fred who had not yet moved away from you, his thumb absently stroking the patch of skin he could touch over your collar.
"Right, round one!" Lee announces. "Starting easy, we're starting with their voices, gentlemen I'd like you to gather around contestant A and say her name out loud," Lee says, falling deeper into a role of gameshow host rather than referee. You feel Fred move away from behind you as the twins shuffle about and approach Angelina.
"Angelina."
"Angelina."
"Umm, the first one?" She asks, unsure of herself.
"Correct!" Lee says and you hear Angelina huff out a relieved breath.
"Contestant B!" You heard a shuffling at the twins moved to stand each side of you.
"Y/n."
"Y/n."
There was no denying that their voices were eerily similar but you had a finely tuned ear and could tell that the slightly breathiness of the first voice was undoubtedly your boyfriend.
"First one was Fred," you said quickly.
"Correct! Okay ladies keep the blindfolds on, next we're doing a touch test. One twin will stand in front of you and you can touch their face to determine if it's your boyfriend or not."
They started with Angelina, one of them stepping closer to crouch down in front of her so that she could try and feel for who it was. A minute passed and she was clearly struggling.
"Um, George?" She says nervously. A moment of silence passes until Lee speaks out, "incorrect that was Fred Weasley! Contestant B!"
You feel one of the twins moving to stand in front of you, crouching down so that you were eye level with each other. You begin to feel around for the face and begin by touching their hair and bringing your right hand down to the right eyebrow, trying to be gentle and not gauge any eyes out in the process. You smirked, feeling the telltale scar that sat on the eyebrow of your boyfriend and ran your finger over his cheek towards his nose to check for the little chicken pox scar. Once you were certain, you slowly ran your fingers down his face towards hip lip and leaned forward with a smirk to capture his lips with yours, knowing exactly who it was. You pulled away, hearing Fred let out a little breath of laughter and you spoke clearly, "Freddie," before leaning in to whisper to him, "hoped it was George." You immediately squealed, feeling him tickle you as a punishment for your teasing as Lee announced your were correct.
"Okay last round, a kiss test," Jordan says. Immediately you and Angelina squark out your complaints but he silences you a moment later, "forehead kiss only." Angelina went first and incorrectly guessed that it was Fred, even though it was actually George who had kissed her.
"Y/n, last chance to take a clean sweep!"
You felt movement in front of you and then felt a pair of lips delicately place a kiss on your forehead. The kiss immediately felt wrong, like there was a shyness to it. You didn't doubt that Fred would try his hardest to try and confuse you by not kissing you in his regular style but this felt entirely different. You could also smell the strong laundry smell that radiated off the Molly crafted, knitted jumper that George was wearing, whereas Fred was still wearing his shirt and jumper, meaning that it could only be one person.
"Georgie gross!" You laughed, attempting to wipe the spot he had kissed, earning a laugh from the boys in the room.
"Contestant B is the winner!" Lee announced as someone reached around to untie your makeshift blindfold, immediately coming face to face with Fred who lunged into a kiss as you both smiled at your victory.
As you pulled apart, you saw that George and Angelina looked slightly awkward with each other and you had to cringe a little at their interaction, feeling a little guilty for them.
"Good game, good game," Lee went around shaking everyone's hand as the room filled with laughter.
"Mate you could always be a game show host if the quidditch commentator thing doesn't work out," you laughed as he lit up and nodded enthusiastically at the prospect.
"So," Fred whispers into your ear, coming to stand behind you as he leans down to rest his head on your shoulder, his arms shaking around your waist. "What will your prize be princess?" His voice is dripping with innuendo as he teases you and you can picture the smirk on his face already as he nuzzles into your hair. "Watching one of your favourite muggle movies, a sugar mouse from honeydukes or something better?"
His mouth comes to nibble at your neck gently, just enough to cause a shiver to run over you as he licks at the mark he's just made. You twist your neck to look up at him, not answering his question directly and grin devilishly as you reply, telling him all that he needed to know, "better put that tongue away Weasley, you'll be needing it later."
Fred openly groans as his head falls on your shoulder at the implication of your words, his arms pulling you in tighter as arousal washes over him, knowing exactly what it did to him. You let out a little chuckle and move to spin around around in his arms to that you're facing each other, both smiling as he pulls you in for a scorching kiss.
"Um, I'm still here you know," Lee says jokingly, earning a quick pillow to the head as Fred breaks the kiss only for a second to reach down and launch the closest pillow at him with impressive precision.
"Point taken, maybe I'll go find George and Angelina," he mumbles, causing you and Fred to pull apart, realising that the other couple had since evacuated.
"I feel kind of bad," you admitted.
"For being able to tell which twin is your boyfriend? Thought that was a basic requirement to be honest," Fred replies, mocking Angelina in a subtle way. You tap his chest at his words, but couldn't deny he was wrong.
"I'm just saying, a few mistakes I can understand, especially from behind or something but she clearly can't even tell in broad daylight," he snickers.
"Maybe it's all a ploy, maybe it's you she actually wants and just uses it as an excuse," you laugh, earning a bark of laughter from Fred.
"Well I am the better looking twin," he says, wiggling his eyebrows.
"Amen," you say, pulling him by the collar for another kiss until you pull away, giving him your most seductive look as you pull him by the hand towards the edge of his bed.
"So... my prize," you say seductively, enjoying seeing the look of shock and excitement quickly pass over his face until the look of arousal washes over his twinkling eyes and a small smirk tugs at his lips.
"Colloportus," Fred says absently, pulling his wand from his pocket and pointing it towards the door, locking it with just a flick of his wrist, allowing you to claim your prize in private.

#fred weasley x you#fred weasley imagine#fred weasley x reader#fred weasley#harry potter#emeritusemerituswrites#emeritusemeritus
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Mabel Pines: Authority, Identity, and Emotional Growth
Mabel Pines emerges as one of the most vibrant characters, a sparkling counterpoint to her twin brother Dipper's analytical tendencies in Gravity Falls. With her colorful sweaters and boundless optimism, Mabel navigates the supernatural mysteries of Gravity Falls while simultaneously facing the challenges of growing up. By examining her relationships with authority figures, particularly her great uncles Stan and Ford, we can uncover crucial insights into her personality, values, and emotional development. The stark contrast between how Mabel and Dipper interact with these authority figures reveals fundamental aspects of Mabel's character: her emotional intelligence, resistance to change, need for validation, and complex journey toward maturity.
Mabel's Essential Character: Beyond the Sweaters
Before analyzing Mabel's relationships with authority figures, we must establish her core personality traits. Series creator Alex Hirsch clarifies a common misconception: "Mabel's not stupid. She's a ham! There's a big difference. Mabel's love of goofing off is a natural force of her personality, but she can still understand when people she cares about need help or are in danger." This distinction proves crucial—Mabel's playfulness doesn't equate to obliviousness or lack of intelligence.
Among the Pines family, Mabel possesses "the biggest heart," typically being the first one to try to make someone feel better or try to befriend them. Her creativity extends beyond her artistic pursuits into problem-solving, where she employs her own creative impulses and ideas to overcome challenges, such as spraying Bill's eye with spray paint or rearranging the clay monster. Her optimism balances Dipper's seriousness, reminding him not to grow up too fast and to have fun.
However, Mabel demonstrates less positive traits as well. She can come off as selfish when focused on fun, sometimes forgetting that just because she's having fun doesn't mean everyone else is. This self-centeredness manifests in her "stubbornly nosy" tendency to involve herself in others' business, particularly in matchmaking scenarios. Most significantly, she harbors a deep fear of growing up and resists change, a trait that defines her character arc and her relationships with authority figures.
Physically, Mabel expresses herself through "very active" body language that is very expressive and exaggerated, incorporating "twirls," "finger guns," and animated arm movements. This expressiveness reflects her emotional openness—Mabel wears her heart on her sleeve, contrasting sharply with her great uncles' more guarded natures.
Mabel and Grunkle Stan: Emotional Kinship
Mabel's relationship with her Grunkle Stan reveals much about how she views and relates to authority. Unlike Dipper, who often challenges Stan's schemes on moral or logical grounds, Mabel connects with Stan emotionally. She is typically the one who brings out the softer side of Stan and isn't afraid to call him out for neglecting to be polite like saying a simple 'please' or 'thank you'. This suggests a comfortable familiarity that allows her to gently challenge his rougher edges without creating serious conflict.
The relationship benefits both parties. Stan's gruffness doesn't intimidate Mabel, and she helps him access his more vulnerable side. They share a playful dynamic where they often share teasing jokes about Dipper, creating a bond that sometimes excludes Dipper. This alliance provides Mabel with validation from an authority figure without requiring her to fundamentally change who she is.
Some critics suggest that "Stan favored Mabel more than Dipper as well, and made him do all the potentially dangerous jobs around the house." While this perspective may be somewhat biased, it does indicate that Stan's relationship with his great-niece differs significantly from his relationship with his great-nephew. Where Dipper must often prove himself to Stan through trials, Mabel receives affection more freely.
An illuminating example of their dynamic appears when Stan explains his approach to toughening up Dipper. After recounting his own childhood boxing lessons, Stan reveals: "That's why I'm hard on Dipper to toughen him up so when the world fights he fights back." Notably, Stan doesn't apply this same "toughening up" philosophy to Mabel, suggesting he perceives and treats the twins differently based on their personalities and perceived needs.
This relationship reveals Mabel's need for emotional security and validation. She gravitates toward the authority figure who provides unconditional acceptance, allowing her to maintain her identity without significant challenge. Stan creates a space where Mabel can be herself without judgment—crucial for a character who fears growing up and changing.
Mabel and Ford: Fear and Resistance
Mabel's relationship with Ford presents a striking contrast to her connection with Stan. Where Stan's authority style embraces Mabel's personality, Ford's more academic approach aligns naturally with Dipper's interests and temperament. This creates tension for Mabel, who sees Ford as potentially separating her from her twin.
This fear culminates in "Dipper and Mabel vs. the Future," where Ford asks Dipper to become his apprentice. Mabel's reaction reveals her deepest insecurities—when faced with the possibility of Dipper staying in Gravity Falls while she returns home alone, she makes a catastrophic decision, accidentally making a deal with YOU KNOW WHO. This crisis demonstrates how Mabel's relationship with Ford is defined not by what they share but by her fear of what his influence might cost her.
When Dipper tries to explain Ford's offer, Mabel repeatedly says "you can totally go with Grunkle Ford to save the world or whatever" while noting that she'll be doing "birthday junk all week". The contrast between world-saving and "birthday junk" highlights the gap Mabel perceives between Ford's serious world and her desire for fun and celebration. When faced with difficult conversations about this future separation, she didn't want to hear what was being said to her, demonstrating her immature coping mechanisms when confronted with unwelcome change.
Ford himself may contribute to this tension by "projecting" onto Dipper and Mabel's relationship, possibly suggesting that "
Mabel is holding him back. This mirrors Ford's own complex relationship with his twin brother Stan, creating a parallel between the two sets of twins that Mabel intuitively resists.
Mabel's difficult relationship with Ford reveals her fear of abandonment, her resistance to growing up, and her anxiety about Dipper developing in ways that might separate him from her. Where Stan represents comfortable acceptance, Ford represents challenging growth that might threaten her sense of security and identity.
Contrasting Approaches to Authority: Dipper vs. Mabel
The stark difference in how the twins relate to Stan and Ford illuminates their contrasting approaches to authority more broadly. Dipper seeks intellectual validation and mentorship, looking to authority figures (particularly Ford) to guide his development. He looks up to him so much that he's probably going to glom on to whatever he says. This makes him receptive to Ford's academic, mission-oriented guidance but sometimes puts him at odds with Stan's less conventional authority style.
Mabel, conversely, seeks emotional validation and acceptance. She thrives under Stan's more permissive, affection-based authority but feels threatened by Ford's more structured approach. Where Dipper sees growth opportunities in Ford's challenges, Mabel sees potential loss and separation.
This difference reflects their fundamental personalities. Dipper is future-oriented, goal-directed, and driven by curiosity. Mabel lives more in the present, values emotional connections over intellectual pursuits, and prioritizes maintaining what she has over risking change. Neither approach is inherently superior, but they create different trajectories for the twins as they navigate the transition from childhood to adolescence.
Authority and Identity Formation: Mabel's Emotional Journey
Mabel's interactions with Stan and Ford reveal much about her internal struggle with identity formation. Stan represents the comfort of childhood unconditional acceptance, fun without consequences, and freedom from change. Ford represents the challenges of growing up increased responsibilities, intellectual demands, and the painful necessity of separation.
Mabel's preference for Stan's authority style and resistance to Ford's influence demonstrate her fear of growing up. She wants to preserve her bond with Dipper and maintain her carefree approach to life, both of which seem threatened by Ford's more serious perspective.
This resistance isn't simply selfishness it reflects Mabel's genuine anxiety about losing what matters most to her: her relationship with Dipper, her freedom to express herself, and her joyful approach to life. While critics argue that "she didn't get developed properly, and actually regressed towards the end of the series," her struggle with growing up represents a realistic challenge that many early adolescents face.
Conclusion: The Authority Mirror
Mabel's interactions with authority figures provide a window into her complex development. Through her comfortable relationship with Stan, we see her strengths her emotional intelligence, her ability to bring out others' best qualities, and her commitment to joy even in difficult circumstances. Through her tense relationship with Ford, we witness her struggles with her fear of change, her occasional selfishness when threatened, and her immature coping mechanisms.
These relationships reveal Mabel as neither simply selfish nor simply sweet she is a mixture of admirable qualities and realistic flaws. Her resistance to Ford stems not from mere stubbornness but from a deeper fear that growing up might mean losing what matters most. Her embrace of Stan reflects not just a desire for indulgence but a genuine connection with his more emotional approach to life.
Understanding Mabel through her authority relationships allows us to see beyond reductive interpretations. She is neither the underdeveloped character that critics describe nor a flawless beacon of positivity. She is a young person navigating the difficult terrain between childhood and adolescence, sometimes stumbling but always maintaining her essential Mabel-ness, her creativity, expressiveness, and big heart.
Her journey reminds us that there are multiple paths to maturity. The tension between Mabel's approach and Dipper's reflected in their different relationships with Stan and Ford illustrates this diversity of development. Neither twin is "right" or "wrong" in how they relate to authority, but each reveals different aspects of the complex process of growing up and finding one's place in the world.
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Okay so I started watching Pretty Cure after seeing how raw the fights go. I'm about seven episodes in, and first impression? There's one thing in particular I find really interesting about the way the show is presented.
A key element of writing is the art of creating narrative excuses. Writing can be broken down into two components.
-> This is what I want to happen. -> This is how I explain why and how that is what happens.
Let's say I'm writing a fight between Daredevil and Thor and, for my story, I want Daredevil to win. The next step is to explain why and how this fight ends in Daredevil winning.
-> How do Daredevil's powers contribute to this victory? -> What experience does Daredevil bring to the fight that he can put over Thor? -> What weapons or gadgets or special techniques have I established (or, if I'm working far enough ahead, can I establish) to justify Daredevil winning? -> What are the environmental factors that are working against Thor and to Daredevil's benefit? -> What is going on in the characters' heads?
Etc. etc.
I have decided from the outset that Daredevil is going to win this fight, and now I can work backwards to explain why that happens. A lot of writing fumbles and awkward storytelling come from failures to take the things the writer wants to happen and have them make sense as things that would happen.
Pretty Cure is a Magical Girl series and, as such, it has the transformative format. The characters have two modes: A powerless mode and a super mode, which they can switch between.
I've seen a lot of transforming hero media. Power Rangers, magical girls, and some battle shonen like late-stage Dragon Ball work on this mode-switching format. And for series that mode switch their heroes... often times, you kinda want to have fun in both modes?
The hero fights the bad guys in their base form first, then mode switches, and then the real fight begins in their super form. Power Rangers gets special mention for having two mode switches, going from normal human to Super mode and then mode switching again to have a mecha fight with a kaiju monster.
But when you do that, there's always that lingering question of why. Why not mode switch on the spot? Why would we ever fight the monster in our powerless state?
There's a lot of ways you, as a writer, can answer that question.
They're trying to protect their secret identity and can't transform until the witnesses are away.
The character is a martial artist and wants to test the opponent's mettle before kicking it up a notch.
The thing they use to transform has been taken from them and they need to get it back.
Transforming would have an adverse effect on something and they need to do it sparingly.
Etc. etc.
What I find interesting about the powerset in the first Pretty Cure series is that it's designed for this kind of mode switching from the ground up. Because the girls cannot just... transform.
They don't have transformation sequences. They have a duo transformation sequence. Their powers have to be activated by each other. It's literally a plot point that they cannot transform if they aren't both there to do it together.
This is what allows for the mode switching. Sometimes they're fortunate enough that danger comes while they're hanging out together.
And sometimes David Bowie jumps out of the bushes and attacks one of them while she's by herself.
And she has to survive until the other one can get there so they can mode switch.
I dunno, I just think baking in an excuse like this to justify depowered action sequences without needing to come up with a unique explanation each time you want to write one is pretty clever.
And also having the characters powered by each other like this plays to the collective power fantasy that tends to be really popular in anime. That we are all individually strong in our own ways, but that the truest strength comes from the whole group working together.
It's neat.
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💖✨Juanita and Marlon, a committed couple, share their inspirational journey as artists delving into the delicate balance of following their passion for acting and navigating the practicalities of life. Their story unfolds with Juanita's Colombian roots and Marlon's upbringing in Long Island, illustrating how their diverse backgrounds shaped the pursuit of their shared passion. Despite initial obstacles and lacking support in their hometowns, they express gratitude for the opportunities propelling them. Attending prestigious acting schools and becoming members of renowned theater companies became milestones in their journey. They highlight the relentless hustle required to support themselves while fully pursuing their artistic purpose and emphasize the powerful impact of mutual support, particularly Juanita's consistent encouragement, which strengthens their shared commitment to the trade.
🧠💪The duo frankly explores the inherent fears associated with pursuing acting in a city rich with outstanding talent. They acknowledge the internal battle against thoughts of inadequacy. Despite these hurdles, they send a strong message of resilience, highlighting the need for tenacity and self-belief in overcoming self-doubt and external pressures.
🔍🎭Marlon explains his decision to pursue acting after first studying criminal justice in college, recalling a watershed moment when he chose to audition for a play and later apply to acting schools. He highlights the need to take risks and bet on oneself, especially in the face of doubt from others, as well as perseverance and self-belief in attaining one's goals.
💫🎬Juanita's acting goes beyond ordinary performance; it becomes an inspirational outlet and a channel for profound self-expression, allowing her to fully honor her identity and experience the whole range of human emotions. On the other hand, Marlon tells his motivational transformation story, describing how acting drove his transition from reluctance to vulnerability and empathy. His story highlights the craft's transformative ability to promote emotional growth and human connection.
🎨🌈Despite obstacles, Juanita and Marlon find tremendous joy in their artistic activities, whether on stage or mentoring the next generation of performers. Their shared worldview sees art as more than a profession but a powerful tool for self-discovery and societal empowerment. It aims to inspire people to find their voices and accept their truths via creative expression.
🌱🚀As they traverse the ups and downs of their careers, Juanita and Marlon stay consistent in their dedication to the artistic journey, understanding its intrinsic value beyond traditional measures of success. Their shared goal is not only celebrity or financial gain but also establishing meaningful connections, cultivating curiosity, and preserving a culture of authenticity and inquiry in themselves and those they touch. In sharing their experience, they hope to inspire and motivate budding artists by demonstrating that with perseverance and belief in oneself, even the most difficult barriers can be conquered to attain one's aspirations.
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Summary: just ateez being the cutest dads ever Pairing: ateez x fem!reader (individually) Tropes: parent au, established relationship au Genre: fluff Rating: G Warnings: none Word Count: n/a Note: I watched return of superman and the hello 82 episode and here we are... (yes I will take requests in this au)
Hongjoong
Gender-neutral clothing designer
His wife is a model for his brand
One daughter and one son
His daughter is older
His son is his mini-me
He and his son do literally everything together while his daughter laughs about how much they are alike
Seonghwa
Kindergarten teacher
His wife teaches high school literature
Twin boys and a younger daughter
Absolutely adores his baby girl more than anything
Always ready to play with his sons
Spoils his babies when he can
Yunho
Florist
His wife is an accountant
Has one son and another on the way
Super protective of his wife when she’s pregnant
His son is always talking to her belly (a habit he’s developed from his dad)
Always brings home gorgeous bouquets for his wife every night
Yeosang
Photographer specializing in children’s photography
His wife is an event coordinator
Has one daughter
Will do absolutely anything for his daughter (yes, even the photoshoot after she was born)
Playing princesses and nail salon >>>
He wants another kid, but it’s not the right time quite yet
San
Trust fund baby but is still very serious about the monopoly he’s found himself the CEO of
His wife is a stay-at-home mom (was an arranged marriage at first for business things, but they caught feelings)
Fraternal twin daughters
One is his mini-me, and the other is his wife’s
Will leave business meetings if his daughters want or need him
Just cause they live comfortably doesn’t mean they spoil their kids rotten
Mingi
Dance professor
His wife is a biological chemistry professor
Two sons who are close in age
The boys have his personality (chaos in a bottle)
Sometimes his sons will come to uni with him and try to learn the dance for that lecture
If the boys are quiet, they’re up to something (Mingi included)
Wooyoung
Gourmet chef
His wife is a patissier
Identical twin girls
Very sweet, affectionate, and mild-mannered girls
Both of them teach the girls how to bake and cook anything they want to learn
Would set the world on fire for his girls if they asked
Jongho
Record shop/ cafe owner
His wife is an indie artist
One daughter (his baby bear)
Lets his daughter help around the shop
He and his wife make up little songs to help her learn things
She wants things to be bear/forest themed at all times
COPYRIGHT STARLITMARK 2023© ALL RIGHTS RESERVED — reposting/modifying any fic or piece of original writing posted on this blog is not allowed. Translations are not permitted.
Networks: @cultofdionysusnet @kwritersworld @k-vanity
Tag List: @sanjoongie @jaehunnyy @ericssmile @anyamaris
#ateez fluff#cultofdionysusnet#kwritersworldnet#kvanity#ateez headcanon#ateez x reader#ateez scenarios#ateez fanfic
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Star Wars: The Clone Wars Roleplay Discord Server
Are you seeking an active Star Wars: The Clone Wars-era roleplay server? If you want a chill, safe space to discuss Star Wars, your OCs, art, fanfics, and much more, consider checking out our discord server! We are an 18+ Star Wars roleplay server primarily focused on the prequels and the Clone Wars era. We also have an additional post-Order 66/Empire subsection for those who want to roleplay and discuss events later in the Star Wars timeline.
More about the server:
We are an incredibly OC-friendly server that promotes the creation and development of Star Wars OCs. Whether your OC is established or brand new, you can roleplay them here.
You also have the opportunity to roleplay up to three canon characters if they’re free! We don’t allow doubles, but there are many other ways to discuss your favorite character with other fans if they’re already taken
Additional things we offer:
A positive environment to express yourself in a community.
For artists, you can open commissions and advertise your artwork business! We are very artist-friendly and pro-small businesses.
We have multiple channels to discuss books/novels/comics, video games, movies, and TV shows.
Active voice chat hangouts with various people around the globe!
An art streaming channel for artists who want to live share art they are working on.
Our roleplay server doesn’t have a “server-wide plot” but allows members complete control over the plots and stories they want to roleplay.
We offer various modes of roleplay, including 1:1 threads, group roleplays, and “in-character” chat roleplays, known as No-Plot.
We have multiple server sections that separate different topics, including NSFW, CxC (cloneshipping), and Dead Dove: Do Not Eat. You can opt in and out of these sections as you like.
NSFW/ERP (erotic roleplay) is allowed in its designated roleplay section. Same with CxC and Dead Dove topics.
We are incredibly LBGTQ+ and neurodivergent-friendly! However, we welcome everyone on our server, regardless of your identity. If you have made it to the end of this post and our server piques your interest, consider joining and giving us a chance!
#star wars roleplay#star wars rp#sw roleplay#sw rp#star wars rpg#clone wars rp#clone wars roleplay#star wars discord rp#star wars discord#sw discord#clone wars discord#star wars#tcw#sw tcw#star wars the clone wars#tbb#the bad batch#bad batch#the clone wars#clone wars#star wars prequels#sw prequels#the phantom menace#attack of the clones#revenge of the sith#the mandalorian#the acolyte#andor#a new hope#empire strikes back
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not my usual post (i’ve been busy w college since i had to take some time off due after hurting my back n now i’m behindddd 〣( ºΔº )〣) but i can’t stop thinking about seunghan; sitting and watching all of this unfold i just feel so lost and helpless.
as a predebut stan who followed the project to support sungtaro (with an older sister who was an smrookies fan, namely seunghan’s) i have always been a huge advocate for all seven members since their debut announcement. each and every one of them hold a special place in my heart and the memories i have of their earlier days are a treasure to me.
but, as i lie here reflecting on their journey from debut to now, i can only scrutinise and question. ‘how did it ever get this bad?’.
after the mishaps and mistreatment within nct, riize was the promised boygroup a lot of the members almost never received. it was a sparkling path forward for these idols and trainees who were for so long uncertain about their futures almost too good to be true. even in their somewhat ‘humble’ beginnings, their brotherhood was remarkable and undeniable; these boys had worked so hard to build a collective identity and image for themselves. revolving around their found family of seven, riize was (to me) the epitome of youth and friendship. from their music to their choreography and variety content, they remained synonymous as a promising young group of seven - a notion that by all means should remain despite what further changes may be in store.
throughout my entire adolescence i was bullied, threatened and harassed by adults and peers alike. though my experiences are worlds different from seunghan’s, i can confidently recount and express the immense isolation, loneliness and guilt that harbours within oneself when singled out in these situations. we are social creatures constantly seeking approval and acceptance from those around us; the human psyche is malleable and extremely susceptible towards externally projected negative emotions and criticism. right or wrong it will often play in favour of the loudest voices and strongest presence in the room. tldr, if you drill into someone’s head enough that they are the cause of their group’s failure and reputation, they will believe it regardless of its truthfulness. he was left alone, cornered and threatened until he felt he had no choice but to step down.
that being said, as much as i respect seunghan's decision/proposal to withdraw, i (and many other briize) are left in overwhelming contention over his mental state, worrying for his wellbeing and worrying for his brothers that were distanced from him during such a difficult time.
and now, as more time passes with no elaborated statement, clear resolution or response my anger towards his label and respective production team only festers. observing the state of the fandom it’s reasonable to expect some level of protest or backlash against his return, but to leave him privy to such graphic and horrific scenes - hundreds of funeral wreaths displayed in his name - and make no moves, not even a stir, to merely mitigate such a childish display of emotion is beyond unfathomable. as his management it is their job to keep him safe and allow him to continue his work at an artist alongside the other members, a role that should never fall upon the group themselves who have now also been targeted because of the organisation’s continued blunders. how can you as an established individual comfortably allow your talent to not only wrongfully suffer, but openly blame themselves for a situation that escalated as a result of your own incompetence? and to make such an important decision without the presence and support of the other six members is irresponsible and disregards their feelings on the matter.
seunghan had no advocates in that room.
i can only pray for a peaceful future for him outside of public scrutiny and misdirected hatred and attention. may he spend this period in peace, surrounded by love and compassion.
#riize#riize is 7#riize is seven#ot7#riize ot7#seunghan#hong seunghan#riize and realise#briize#fuck ot6#i’m so tired
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gio what are your thoughts on the story of cimon and pero/roman caritas. devoid of (incestuous) eroticism bc breasts were and are not inherently sexual or rife with voyeurism on something transgressive for the sake of filial piety. also apparently some versions have it be a mother and daughter so make of that what you will
very very interesting question!! i had to look up the sources because i wasn't super familiar with the story in the first place, and for the sake of ease and context i have translated the two sources i referenced and added them here. (exceedingly long answer under the cut, after some figurative depictions and the sources themselves)
Valerius Maximus, Memorabilia 5.4.1:
Such fame of filial piety is said to be held by Pero, who nursed as though an infant her father Mycon, very old in age, having come into the near-identical condition of imprisonment she was in. The human eye marvels and astonishes upon seeing the paintings depicting this story, which perpetually renews the extraordinary nature of such an ancient event through the admiration for the scene being portrayed.
Pliny the Elder, Naturalis Historia 7.55:
Undoubtedly endless examples of filial piety exist worldwide, but in Rome there is one alone to which none other can compare. A humble woman on the verge of giving birth, a plebeian and thus unnamed, had been allowed to visit her mother who was in prison because of a crime she had committed; despite being under constant surveillance so that she may not sneak in food for her, the woman was caught feeding her mother from her own breast. For such a marvelous display of piety was the mother freed, and both were granted food in perpetuity, and that very place was consecrated to the goddess of Pietas.


i think this is a very interesting story, i can see why it is such a common theme to be depicted throughout art history, and i definitely empathize with and share the reaction valerius maximus describes in the viewer of such artistic depictions: the visual effect of a woman breastfeeding an adult, one significantly older than the woman herself, is no doubt incredibly striking, and it is only compounded by the knowledge that said adult is the breastfeeder's own parent.
there is something extremely visceral about this mental image that makes me want to flinch and look away from it, like i am seeing something i am not supposed to be seeing: this is something different from the reaction that a mother breastfeeding her child usually evokes in me, and far more similar to the reaction i have to seeing a couple have sex in public. of course, a lot of this is my own personal and cultural bias speaking: while breasts are not ontologically sexual, they have a sexual connotation in our society, and an adult sucking on another adult's breasts, even with milk flowing, is an act that instinctively reads as sexual and thus incestuous to a modern-day observer, even one who knows there is no sexual intent behind the act.
there is also an element of subversion, and thus further taboo, enshrined in the act: it's more self-evident in the story about the plebeian mother and daughter, but no less present in the one of pero and mycon. a mother breastfeeds her daughter, who in turn grows to have children of her own and breastfeed them, and this goes doubly so for a plebeian woman who would not have had the means to take on a wetnurse: that a daughter breastfeed her own mother shatters the hierarchical dynamic that tacitly establishes itself the moment the newborn daughter latches onto the mother's breast, and it places the daughter herself in a position of power as the one who now controls the mother's access to food and life, as well as forcing the mother into a regression of age where she now has to step into a child's shoes and trust her daughter with her life and her nourishment.
i would argue the same goes for the father, with the obvious caveat that roman fathers usually did not breastfeed their children and so that one immediate parallel doesn't hold up; however, it is still a very clear subversion, especially when you take into account that the roman father as head of the family would have very concrete power of life and death over his children, while he is here fundamentally subject to the whim of the daughter who holds the power of life and death over him in the form of breastmilk. of course, in both cases, the daughter is magnanimous and pious and of her own volition she offers her breast to her parent for feeding, potentially even robbing her soon-to-be-born or newly-born child of the milk that is rightfully theirs: after all, these are both being used as exempla of filial piety and are surrounded by other such exempla, and selfless devotion to the ailing parent even beyond the realm of what is usually considered proper is a storied roman value. in this sense, one can read these tales as the child giving back to the parent, and therein can lie the subversion: as the parent once fed them and gave them life (or even straight up breastfed them in the case of the mother) in a time of the child's helplessness, so too the daughter in a time of the parent's need must take it upon herself to give back and feed her parent with the body she was given by them.
of course, this is just pure speculation on my part, and while i do think it's likely that an ancient roman reader or viewer might interpret the story somewhat similarly to the last paragraph, i cannot be sure: i don't know how breasts were viewed in the roman world, but i can make an educated guess, judging by how even in most nude or scantily clad depictions of roman women their breasts are bound and they are only shown as unbound in erotic illustrations. it is very possible that the ancient romans saw breasts in a somewhat similar way as us, which is to say quite eroticized beyond the context of breastfeeding; i wonder especially if a father would have had the opportunity to see his daughter's breasts organically, if such an instance was normal or possible or if she would have kept them bound in such a situation.
all this rambling to say that breasts were likely eroticized to some degree in roman culture, and to me it's very telling that some narrations report the guards/witnesses of such breastfeeding as being shocked or finding it indecent before understanding it as an act of filial piety: the sheer fact that it needs to be prefaced with this disclaimer of sorts, of it being a story of filial piety, implies that the image of an adult man sucking on a woman's breasts may have had other, sexual connotations (an adult woman doing the same might even have connotations of lesbianism, how ghastly), and so the tale both plays into that ambiguity and tries to dispel it by explaining the context.
i hope this makes even a lick of sense! i had a lot of fun exploring this story and mulling it over in my head, thank you for giving me the opportunity to do so, i really hope you found my answer the least bit satisfactory <3
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Tomorrow X Together's Yeonjun on solo release: 'I'm going to keep challenging myself'

Yeonjun of popular K-pop group Tomorrow X Together isn't one to shy away from a challenge. Over the last five years, the Korean performer has built a reputation alongside his four bandmates as a versatile all-rounder who can execute any choreography or genre thrown his way.
"When I was young, I just purely loved music and dance, and that love is all I had. After it became my career, music became a source of both joy and sometimes stress for me," Yeonjun tells USA TODAY. "Still, I feel like music takes such a big part of my life. I think music is what allows me to be really free and really express myself as I am."
Now, the 25-year-old is taking a new step in his evolving career. Yeonjun released his first solo mixtape, "GGUM," Sept. 19.
"I'm super excited, but at the same time, I'm kind of nervous," he says. "This is my first time doing a solo project, I do feel a bit of a pressure, and I feel responsible for doing a good job."
Curating 'GGUM' and its concept
"I'm always looking for opportunities to expand my artistry, expand my different musical performances," Yeonjun shares. "During the middle of the US tour, we started talking about this project, and we slowly built on that."
"GGUM" and its feature track highlight Yeonjun's vibrant tonality. The hip-hop inspired song is bold and dynamic, commanding attention from the second you hit play. So how'd it get its name?
"I was actually chewing on gum when I was in the car, and it just came to me all of a sudden," Yeonjun reveals.
When you're chewing gum, you can exude a certain swagger and confidence, he says. "I think that vibe really suited me well, and I thought it was a perfect concept for my first solo project," Yeonjun adds.
"GGUM" is striking in its lyrics, sonics and performance – "Blow and spit out a banger, this song's now stuck in your head," Yeonjun raps. His flow is fierce and unfaltering, while the choreography is kinetic and intense. Yeonjun helped develop the track's dance.
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Facing challenges solo: 'It was no walk in the park'
Yeonjun's first solo project tested his mettle.
"Honestly speaking, I thought I was ready for this, but then I realized after working on it, that it was no walk in the park," he shares.
"It was really difficult. It was very challenging to do the vocals, the rap and the dance all at once. I tried doing everything at the same time. It's very tiring. So while working on the choreo and the song, I came to really respect solo artists," Yeonjun adds.

But Yeonjun's experiences with a group helped him along the way. "I think only because I am part of Tomorrow X Together – and I've been through so much together with them – that's why I could try this. I could take on this challenge," he says.
"If I weren't in the team, I don't think this would have been possible," Yeonjun adds.
Even though Soobin, Beomgyu, Taehyun and Hueningkai are not performing alongside him, Yeonjun felt their support.
"I did feel a lot of stress, a lot of pressure, sometimes to the point that it almost scared me. Whenever I was met with those emotions, the bandmates would come to me, they would give me a lot of words of encouragement and boost my self-confidence and self-assurance," he says. "Thanks to them, I could pull it off and finish this journey."
Yeonjun vows to 'keep challenging myself'
Yeonjun hopes "GGUM" can be a "pleasant shock to everyone." He has already established his identity through TXT, but this mixtape allows him peel back another layer.
"I hope that the people would feel that I'm bringing something new to the table," Yeonjun says. "I think it's a new start for me and a new challenge that I took on. It really means the world to me."
Yeonjun will continue to build upon the foundation he has previously laid, whether it's with Tomorrow X Together or on his own.
"I want to keep pushing my musical boundaries and make sure that I expand my artistic spectrum, and I'm going to keep challenging myself," he says.

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So I've been seeing A Viewpoint within the bg3 fandom occuring. And I gotta be honest. I disagree that the characters being bisexual in Baldur's Gate 3 means you cannot headcanon them as other sexualities for your own fandom content purposes. I think that's not reflective of how queer people and their sexual identities actually work, and its just antithetical to how fandom has always functioned, which is an exercise of imagination. I wanna clarify up front: I agree that someone saying that a character Can't or Shouldn't or Was Not Meant To Be bisexual because of whatever reason IS biphobic sentiment. The characters in Baldur's Gate 3 are canonically bi/pan, thats made pretty damn clear when you look through all their content. That's not what I'm talking about. I'm talking about headcanons, au's; the kind of imaginitve play that is very much what fandom creativity is about. If you set a standard in fandom that depicting a character as a certain sexuality is Not Allowed, 1. you're kinda flattening sexuality in a weird way, like personally my sexuality is complicated as fuck and has changed over time, and 2. you're limiting creativity. And I think creativity in fandom is extremely important. It's the whole fun of fandom. Creativity is worth protecting and its worth establishing the nuance between Depicting A Version of Character who is X and Insisting That Character Should Be X in canon. Because like... we meddle with character's identities in fandom all the time. That's what headcanons ARE, they change appearance, social position, career, faith, species, traumatic experience, moral and political alignment, and SO much more. I think limiting what people can headcanon within fandom... is less fun! It's just less fun. Imaginative scope lets you do more, weird fun stuff. It lets you depict more complex interesting characters. Example: my Bad Nun AU. In that, Shadowheart identifies as a lesbian. Why is that? Because I wanted Shadowheart's experience within Bad Nun to specifically explore the history and context of lesbians within nunneries, especially how that manifested post Vatican II. These were also eras when 'lesbian' was more ubiquitos, had a different context and more flexibility; a lot of women that would probably consider themselves 'bisexual' now were identifying as lesbians, were in lesbian communities and events and spaces.
On that note: Flattening sexuality. You're gonna say people CANNOT depict these characters as ANYTHING but bisexual? That is not how most queer people's sexualities work. It simply isn't. I've identified as tons of different shit in my sexuality. I'm still not sure about it. For me half the time my "sexual identity" is just the words I use to communicate what I'm looking for, and that changes depends on What I Want at that time, what I'm looking to explore, my social context, ect. ect. like what. This isn't how sexuality works for real people. How are artists meant to be Creative and imaginatively depict real, complex, queer sexuality if they are restricted to depicting only what is within canon?? This is not how any other part of fandom works. Fandom art should work how all art works. If someone makes shit art, it gets dunked on and ignored for being bad or lazy or lame. If someone did Heterosexual Karlach fanfic, I would be like "what the fuck why" because they made Karlach less fucking cool. Het Karlach would be boring and thats More Egregious because they DECIDED to make her heterosexual DESPITE canon. But even then, EVEN THEN, I don't think that should be looked at as off limits shit, because I don't believe art should have many things off limits. Any limits must be very nuanced, because art and creativity is nuanced. Obviously my brain would go "het karlach? you deserve jail time and thats queerphobic", but I honestly believe creative license is more important than those feelings. I WOULD happily comment on their thing, "heterosexual karlach is boring, thats a shit idea" because I'm right
If you want good art and good writing, you need to protext creative license.
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The Heart of Thomas and the Fujoshi to Fudanshi Pipeline: How BL Can Encourage Gender Exploration
In Thomas Welker’s book Transfiguring Women in Late Twentieth-Century Japan: Feminists, Lesbians, and Girls' Comics Artists and Fans, he speaks to the women’s liberation - ribu - movement. The beginnings of this movement were spurred by righteous anger and resentment, women who recognized their oppression under patriarchy and the ways in which societal expectation had shaped the course of their lives. One such woman was Yonezu Tomoko. Yonezu had long questioned the social norms that dictated she must marry and “be chosen” by a man in order to have a happy life, largely due to a disability that left one of her legs partially handicapped. She found herself failing to meet societal expectations of femininity, falling outside of the definition of what it means to be a woman within Japan’s framework entirely. As she continued her journey as a ribu activist and leader, the question she has been trying to answer from the beginning remained - what does it mean to be a woman when you are excluded from the social category entirely? The answer may lie in BL.
BL, particularly The Heart of Thomas, blurs the lines between sexuality and gender, mirroring the experiences and fantasies of women who do not necessarily fit within societal standards of womanhood. The boys, feminine in appearance and in behavior, are very “free” with their affections. They profess their love openly, kiss one another, and have a level of care for each other that is very similar to the friendships women often cultivate in their adolescence. As has been established, BL works that focus on intense emotional bonds are helpful in terms of navigating one’s sexuality or sexual expression, in a way that feels safe and distant from real life sexual or intimate relationships, but is tied closely enough to a “female experience” that they seem plausible. In this way, I think, BL can illuminate how fragile societal conception of gender, particularly womanhood, is.
In many ways, women are defined by their “lack” of traits men possess. Men have sexual desire, while women do not (or aren’t supposed to). Men have the freedom to explore their own identities and cultivate free and open romantic relationships with others - women do not. Men are allowed to exist without fear of the consequences of a one night stand or an unwanted sexual advance - women can not. However, BL illuminates that women do possess these traits, or at least the desire to act upon them if not for social constraints. In this sense, BL can be a tool for women in regards to deconstructing the category of “woman” entirely; rejecting the beliefs that have been imposed onto them and beginning to recognize gendered oppression that prevents them from expressing their true desires.
I think the fact that BL is a pathway for gender exploration can further exemplify this idea. Many trans people I know have stated that BL (manga, slash fic, etc) was a turning point for their understanding of their own gender - wanting to “kiss guys as a guy” being a very commonly cited phrase. This, in my opinion, speaks to the ways BL can help one navigate gender through desire.
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EXCLUSIVE: As romance scams are on the rise, a bipartisan group of lawmakers is introducing new legislation aimed at holding accountable those who seek to defraud retirees and steal their hard-earned savings.
U.S. Sens. Marsha Blackburn, R-Tenn., and John Hickenlooper, D-Colo., and Rep. David Valadao, R-Calif., introduced the Romance Scam Prevention Act, which would require dating apps and services to issue fraud ban notifications to users who have interacted with a person removed from the app.
The move came as Americans are more than ever connected thanks to social media and dating apps that allow us to stay in touch with old friends all over the world and to develop new relationships online.
As Americans increasingly go online in search of relationships, scammers are following suit. According to the Federal Trade Commission (FTC), in 2022 almost 70,000 people reported being victims of a romance scam.
People aged 40 to 69 are the most likely to report losing money due to a romance scam, and people 70 and older reported the highest individual median losses at $9,475, according to the FTC.
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Blackburn said that the bipartisan legislation would put "critical safeguards" in place to protect app users. The senator highlighted that in 2023, Tennesseans over the age of 60 lost $43 million due to scams targeting the elderly.
"Scammers are merciless in their exploitation of senior citizens who join dating apps to establish meaningful connections but instead end up losing their life savings to con artists who prey on their vulnerabilities," she said.
The bill requires online dating service providers to notify members if they've communicated with someone whose account has been banned for fraudulent activity. The notification must include the banned member's profile details and a warning that the banned member might be attempting fraud, such as requesting money.
How To Not Fall In Love With Ai-powered Romance Scammers
The bill is enforceable by the FTC and allows state attorneys general to bring civil actions on behalf of affected residents. It also ensures that no state law can interfere with the process of fraud ban notifications.
"This bipartisan, bicameral bill provides transparency, empowers users to make informed decisions, and reinforces best practices to prevent online scams," Valadao said. "I’m proud to help lead the effort to make online dating safer and protect Americans of all ages from financial fraud."
One such scam was recently uncovered by Las Vegas authorities in February. The Romance Scam Prevention Act would guard citizens from suspects like 43-year-old Aurora Phelps.
"Phelps would meet older men on dating websites or services, then meet them in-person. It was part of her scheme to drug the older men to gain unauthorized access to and steal money from their financial accounts to personally benefit herself and her family members," prosecutors said.
Phelps was charged with 21 counts, including seven counts of wire fraud; three counts of mail fraud; six counts of bank fraud; three counts of identity theft; one count of kidnapping; and one count of kidnapping resulting in death, the U.S. Attorney's Office for the District of Nevada said in a statement.
If convicted on all counts, Phelps, who was taken into custody in Mexico, could face a maximum of life in prison.
Though she's only charged in one death, an indictment said that at least two men she met and scammed died.
In romance scams, a criminal uses a fake online identity to gain a victim's affection and trust. The scammer then uses the illusion of a romantic or close relationship to manipulate and/or steal from the victim.
The rise of romance scams led U.S. Immigration and Customs Enforcement (ICE) to provide practical tips for people to avoid being taken advantage of.
Be suspicious of unsolicited phone calls and text messages. Don’t answer calls or texts from any unknown numbers. Never give out personal information over the phone or text.
Limit what you share online. Scammers can use details shared on social media and dating sites to better understand and target you to form a connection and take advantage of what is going on in your life.
Go slowly and ask questions. Creating a false sense of urgency is a fundamental tactic of social engineering. Don’t let the individual rush you to make a decision. Be wary of sending money, bank account information, personal photos or other sensitive personal information to someone you’ve never met in person.
Keep it on the platform. Many times, scammers will push to move the conversation off the dating or social platform. Generally, they request to text or email. This is to avoid the detection controls in dating website chats.
Listen to your gut. If the individual seems too good to be true, talk to someone you trust about it.
Don’t send money or cryptocurrency. Never send money to anyone you have only communicated with online or by phone. If you meet someone on a dating site, app, or social media, and they want to show you how to invest in crypto, or ask you to send them cryptocurrency, it is a fraud.
More information about the department’s efforts to help older Americans is available at its Elder Justice Initiative webpage, elderjustice.gov.
For more information about the Consumer Protection Branch and its enforcement efforts, visit www.justice.gov/civil/consumer-protection-branch.
Elder fraud complaints can be filed with the FTC at www.reportfraud.ftc.gov/ or at 877-FTC-HELP. The Justice Department provides a variety of resources relating to elder fraud victimization through its Office for Victims of Crime, at www.ovc.gov.
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The Mad Woman in the Attic as a Warning to Women
“Women and madness” is a recurring theme in many literary works about and written by women. Some feminist critics argue that madness is a form of female liberation from a patriarchal society. However, through a critical analysis of Charlotte Gilman’s “The Yellow Wallpaper” (1892), this essay argues that the portrayal of madness is not liberating. Rather, it should be taken as a warning of the role that women play in a patriarchal society.
The association between women and madness is heavily influenced by language. Language and “reason” are gendered. “Irrational” and “emotional” ways of seeing the world, hence the relation to hysteria and madness, have traditionally been seen as the “feminine” opposition to male reason (Small, 1996, p. 117). Much of Western metaphysics is built upon logocentrism: the predominance of “logos” or reason. Therefore, much of Western philosophical thoughts operate in a binary opposition between Presence/Absence, Truth/Error, Same/Other, Man/Woman, and Reason/Madness, among other things. Because Reason is given utmost importance, it follows that Man becomes the focus of the dominant worldview. Anything that opposes Reason, including Madness and Woman, is an Other, whose presence is devalued and rejected (Felman, 1975, p. 3).4
Madness became particularly associated with women in the 19th century. The word “hysteria” itself was derived from the Greek word for uterus (Felman, 1975, p. 2). It was believed that the cure for hysteria was marriage and domestication (Small, 1996, p. 117). In the 19th century, “rest cure”, which required women to live a domestic life and not do any work, was often prescribed to women who experienced mental breakdown (Bassuk, 1985, p. 245).
Madness, therefore, became a term for women who do not comply with societal expectations of women. Showalter (1985) refers to madness as “the female malady”, establishing a link between the restriction and oppression of women in a male-dominated society with “madness”. Madness, Showalter notes, is “the price women artists have had to pay for the exercise of their creativity in a male-dominated culture” (p. 4). For further discussion, this essay shall take the example of Gilman’s short story “The Yellow Wallpaper”.
In “The Yellow Wallpaper”, the narrator is a woman whose husband, a doctor, prescribes her “rest cure”. She experiences mental breakdown and is unable to take care of her infant. Thus, she has to stay in a room with yellow wallpaper. Unable to write or do anything, she becomes fixated on the wallpaper, believing that there is a woman trapped in the wallpaper. She peels all the wallpaper to “free” the woman. Eventually, she believes that she is the trapped woman, and she has set herself free. “The Yellow Wallpaper” was based on Gilman’s own experience with rest cure.
Some female authors and critics believe that madness could liberate women from oppressive gender roles. Firstly, it allows women to define their identity. Women’s roles are often polarized: angels and whores, domestic wives and “madwomen in the attics” (Gilbert & Gubar, 1979). They are not allowed to define their own identity. Women’s experience of losing and having to remake their identity - their “madness” - gave them a unique perspective of the world and a distinctive use of language (Small, 1996, p. 115).
Literature, therefore, is a way to express this “madness” and the female author’s identity. In the case of “The Yellow Wallpaper”, it is also Gilman’s semi-autobiography, where she expresses her view of the “rest cure” method. Hence, it could be argued that the narrator is the author and, by extension, the female readers who also experience oppression in a patriarchal society (Gilbert & Gubar, 1979). It is also the case of other women who write semi-autobiographical accounts of madness, such as Sylvia Plath with The Bell Jar (1963).
Another argument about madness being liberating is that it is a form of dissent. Hedges (1973, in Small, 1996, pp. 128-131) argues that although the heroine of “The Yellow Wallpaper” is destroyed, Gilman has transcended the heroine’s fate by writing. By writing the story, Gilman attacks the confinement of women in domestic spheres. Autobiographical aspects of “mad” women writers’ works become a means of subversing societal and political norms. Another example is Emily Dickinson, who was seen as “mad” as she was a spinster and a social recluse, violating the norms of her patriarchal New England society (Juhasz, 1986). Dickinson’s poems are both personal and political. For instance, in “Much Madness is the divinest Sense” (1862), she criticizes how people blindly follow the norm, while the “mad” ones like her - and other women - are silenced.
However, both arguments of madness being liberating risk romanticizing the real nature of madness. After all, in “The Yellow Wallpaper”, the narrator’s fate after her descent into madness is unknown. Given the circumstances, she might be forever confined in a domestic sphere, like Mrs. Rochester, the madwoman in the attic of Austen’s Jane Eyre (1847). Furthermore, Gilman eventually committed suicide (Small, 1996), which might indicate that writing did not liberate her from madness.
Although it is true that madness can be a form of dissent, it is a term that can be applied to anyone who deviates from the norms, including gender roles (Showalter, 1985). Suffragists were an example of “mad” women. One reason suffragists’ movements grew slowly was because many suffragists were called “mad”, silenced, and institutionalized (Small, 1966, p. 140). In this case, the labeling of “madness” is used to silence anyone who disobeys, let alone fight against, the prevailing oppressive norms. “Madness” is thus a social label which could be conveniently used to dismiss the plight of the oppressed.
To add on, most of the time the descent into madness is simply an escape from one cage to another. Madness as a liberation is often an illusion. Only the woman writer’s imagination is free - she is still trapped in a patriarchal society. The narrator of “The Yellow Wallpaper” imagines herself free, but for all we know she might be institutionalized afterwards. Likewise, despite Dickinson’s rich inner life, she was a recluse until her death (Juhasz, 1986). Although she could write poems criticizing the society that labels her “mad”, in real life she was unable to go against its patriarchal norms and remained alienated.
Indeed, the theme of women and madness should be a warning to women that, in a male-dominated world, madness has a dangerous consequence. After all, madness is a social construct that emerged from a binary way of thinking that pervades Western metaphysics: Man/Woman, Logic/Madness. It is a label created for women who are incapable of conforming to traditional female gender roles. To be mad means to be pushed to the periphery, to be disposed of and silenced.
It is true that women could to some degree reclaim madness and use it as a tool for subversion (Showalter, 1985). However, in a world where the dominant discourse is logocentric, the voices of “reason” are male and speak a “male” language, one which women do not speak (Small, 1996, p. 144-145). The labeling of women as “mad” carries a real danger of physical and mental violence against women. Therefore, it is only fair that we do not romanticize madness as “liberating” and instead take the stories of the madwomen in the attic, like Gilman’s narrator and Austen’s Mrs Rochester, as a warning.
References
Bassuk, E. L. (1985). The Rest Cure: Repetition or Resolution of Victorian Womens Conflicts? Poetics Today, 6(1/2), 245. doi: 10.2307/1772132.
Gilbert, S. M., & Gubar, S. (2020). The madwoman in the attic: the woman writer and the nineteenth-century literary imagination. New Haven: Yale University Press.
Small, H. (1996). Madness as a theme in women’s literature. In Goodman, L. (1996). Literature and gender, pp. 114-145. London: Routledge.
Juhasz, S. (2011). Writing Doubly: Emily Dickinson and Female Experience. Legacy, 3(1), 5-15. Retrieved March 31, 2020, from www.jstor.org/stable/25678951.
Showalter, E. (1985). The female malady: women, madness, and culture in England, 1830-1980. New York: Pantheon Books.
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