#the connection that he makes with pervasion in love (which is a normal case for those gays raised in homophobic conditions).

[devertigozation]

"Baekhyun is the obviously gay one." Pfffff, be real

Baekhyun's playfulness is lost in the cultural translation of East and West, a usual case in which Asian men are feminised by the Westerners for not adhering to the macho version of masculinity, a type of gender culture that, surprise, is not as pervasive in the East.

Junmyeon is the obviously gay one.

[ckret2]

i saw a post saying that alastor is an aphobic caricature because he’s portrayed as heartless and manipulative. is this true?? i didn’t even know asexuals were stereotyped like that

I'm gonna talk about both asexuality and aromanticism in this post because 1) creators have confirmed that Alastor is both ace & aro (the ace part was confirmed much earlier, which is why it's talked about more often than the aro part), and 2) the fictional tropes I'm talking about usually apply both to aces & aros, mainly because the creators using them typically don't separate sexual attraction from romantic attraction.

So, since you hadn't heard of that stereotype before, here is a thing that is true about fiction:

In media—particularly sci-if/fantasy (where you can have characters manipulated on a soul-deep level by technology/magic) and crime/horror fiction (where you have the ever-pervasive remorseless killer and "heartless sociopath" tropes)—characters are often portrayed as "incapable of love" as a way to indicate villainy. (Widely-known example I mentioned just a couple days ago: Voldemort from Harry Potter is described as having been born incapable of feeling love due to Magic, which puts him at odds with heroes who are shown to draw their greatest strength from love.) Often, an incapacity to feel love is also indicated through an incapacity to feel sexual desire (because most allosexual alloromantic people who aren't involved in the queer community conflate romantic desire and sexual desire as the same thing).

In most cases, it seems like the logic behind this is "if I want to indicate that this person is cruel and heartless beyond all measure, what better and more extreme measure can I take than to say that they are simply completely incapable of feeling love/desire?" and this media is usually produced by people to whom it has not occurred that there are, in fact, totally normal people in the world who don't feel love or desire, and maybe there's a better way to suggest that characters are evil than to accidentally lump them in with those people?

In cases like that, usually the character isn't even called ace or aro, especially in older media. Although I wouldn't be surprised if there are some crime procedurals that throw around "our suspect is a cold, manipulative, asexual man" because it's a clinical-sounding buzzword they can use but don't totally understand; but whenever I've seen this trope pop up, a character's purported lovelessness is never treated like a sexual orientation, but rather like a negative mental condition. A negative mental condition that just happens—in many cases probably by accident—to be described the exact same way as actual people's orientations.

I'm sure there are also examples of people going "I'm going to make this character asexual" and then going "I don't know how to write an asexual character except by making them cold, callous, and unfeeling," but I feel like that's less relevant to the background of Alastor's character than the characters who are villains that get asexuality pasted onto them to enhance their villainy.

So on to the question of Alastor.

Now, without an account from Vivziepop on how Alastor's orientation was decided, I don't know her motives in making him ace/aro. Considering that his lack of sexual/romantic desire is being talked about by the creators as an orientation rather than as a negative personality trait, I doubt that she went "I want him to be peak evil so I'm going to sprinkle lovelessness on him to enhance that evilness." Rather, I would bet that it happened the other way around: there's good odds that Vivzie created this murderous cannibalistic character with shallow emotional connections to other people, then thought about his orientation, then went, "I really can't see him ever being attracted to anyone?? Better call him ace/aro."

So, yes, I think that he does end up falling into some of the same boxes as the "loveless evil manipulative villain (who is accidentally coded as ace/aro)" trope. But I don't think it was intentional, and—more importantly—I think there's room in his character to subvert the worst implications of that trope.

Ways that could happen would be by giving him, through gradual character growth, close platonic emotional relationships & a growing conscience without removing his asexuality/aromanticism, showing that loveless doesn't mean heartless; or simply by making his asexuality/aromanticism seem understandable, relatable, and harmless, and most importantly separate from his cruelty.

There are hints already in canon that he could go that way. His brief moment of confused panic in reaction to Angel's proposition in the pilot is one of the most succinct ace jokes I've ever seen, it goes against the "loveless villain is perfectly in control of his emotions and above such shallow things as desire" trope so common to accidentally-ace villains, and it presents his "where the hell did that come from??" reaction as understandable/relatable rather than unfamiliar & alienating. And inwhat few glimpses we've gotten of his prequel comic so far, it looks like Alastor keeps doggedly trying to start conversations with people and being frustrated when they run from him in terror—showing that he wants to reach out and make some sort of connection with other people, so he still desires platonic connections even though he doesn't want romantic/sexual connections. If those trends continue, I'll be satisfied.

So, summary: is he an aphobic caricature? I wouldn't go that far. Does he have significant overlap with "loveless = heartless" villain tropes that don't do ace & aro folks any favors? Yeah, I'd say he does. Could he still end up a well-rounded and interesting piece of ace/aro representation? Yes, he definitely can—but if so, it's going to be in spite of the fact that he's a manipulative cannibalistic serial killer. Like, in terms of "positive ace/aro representation," he automatically gets 20 points docked off his final score before the test even begins—but he doesn't get an automatic failing grade.

For my part, as an ace/aro viewer, I'm waiting to see where they go with his character with eagerness, not dread.

[lets-steal-an-archive]

On Leverage ("The Van Gogh Job")

Scott Eric Kaufman (Originally Posted January 10, 2012)

Before analyzing a sequence from the "Van Gogh Job" episode of Leverage, I need to discuss a little something about color and continuity. First, you may be familiar with Vincent Van Gogh, but if not, all you need to know is the man loved his yellows:

If you're thinking those yellows are a little brown, you're not wrong. But that's the fault of history and chemistry, not intent, so imagine those yellows are as vibrant as they were the day he painted them. This is important. So too is another of his paintings with which you're probably familiar:

What's significant here is the contrast between the once-vibrant yellows and the rich swirls of blue that these lights fail to illuminate. The stars and moon exist independently of the night sky, which has always struck me as a visualization of a menacing thought: things can hide in the presence of all this light. Light can not only fail to illuminate, it can be swept up and away by raging torrents of darkness. (Which invariably contain monsters, because darkness light can't penetrate always contains monsters.)

That I'm going on about Van Gogh in a post about the "Van Gogh Job" should be fairly self-evident, but it's not just that the director of this episode/author-of-the-challenge-to-write-this-post, John Rogers, employs a palette similar to that of his subject. More significant is how he employs it, which is both 1) often to the same end and 2) create continuity between his parallel narratives. In the modern narrative, Charlie Lawson (Danny Glover) sits in a hospital bed recounting the events of the World War II narrative to Parker (Beth Riesgraf):

Note the color of her hospital gown. (And her hair, for that matter.) In the flashback, Riesgraf plays Lawson's love interest, Dorothy Ross:

That would be her doing her best "Starry Night" impersonation. I'm normally reluctant to put too much stock in the analysis of color—such analyses usually end up sounding like impressionistic pseudo-psychoanalytic shtick—but in the frame above you don't even have to know what the episode's about to realize that this isn't a case in which a bright color's emerging from a deep dark as a visual representation of hope. Instead, Rogers captures an image of a bright color about to be overwhelmed by a pervasive and pernicious darkness. (Which, again, most likely contains monsters.) All of which is a belabored way of making a simple point: the color yellow is doing double-duty in this episode: 1) creating narrative continuity between the two historical periods and 2) suggesting a connection between the earlier narrative and its content (the loneliness and isolation evident in the stolen Van Gogh).

One last note about continuity, in particular, the decision to use the Leverage team in both narratives: it may seem like a strange decision, one designed to cause confusion, but it actually makes perfect sense. After all, in the modern narrative, Lawson's narrating his experience to Parker, the result of which is the WWII narrative, which comes from Parker. We all do this when we're being told stories. When I taught journalism, one exercise I used to emphasize the importance of detail was to give my students a description of a man, e.g. "He is short and squat with brown hair and wears clothing typical of workers," then have them describe him in more detail. Invariably, the Asian-American students described an Asian-American man in a white shirt and cheap khakis, the white students described an overweight man in a hard-hat, etc. Point being, we all draw on our own experience when constructing narratives, and Parker's "decision" to cast her friends in the historical narrative is simply another example of this logic.

Why did I spend all this time talking about continuity? Because Leverage is, in the end, a heist show. Rogers describes it as a show about "punching rich guys in the neck [b]ecause they have Sinned, and Deserve It," but I'd go one further: it's a show about sucker-punching those who deserve it. They're not supposed to see the punch coming--or if they are, it's only to distract them from the one they don't. So a number of the shots in any episode are functional not in the deragotory sense, but in that they exist in the service of a shot later in the episode. A number of examples of these service shots occur as Historical Parker (H.Parker from here on out) aims to escape to France with Historical Hardison (H.Hardison). H.Parker is about to start playing an old organ at a skating rink as a performance begins:

[to continue reading, click link below]

[redditnbastreams4]

Twitter Is for Tweeting: Why Kobe Bryant's Tweeting Is Good for the NBA

Kobe Bryant, the long term NBA veteran shooting watch has never been depicted as charming, modest or even friendly. Rather, he has been portrayed as a savage contender, pompous and standoffish. Enter the draw of Twitter, the informal organization handle that gives its members another standard with respect to the right to speak freely of discourse. Twitter is connecting with, proud and addictive for certain individuals who love to state what's at the forefront of their thoughts.

Kobe Bryant began tweeting on Jan fourth, 2013 and has been a principle installation on Twitter since the time by gathering 2.2 million devotees. Presently, why it is pertinent that Kobe Bryant joined Twitter? Numerous competitors utilize informal organizations to associate with fans or different competitors however hardly any competitors really interface with the fans. Consequently, Kobe Bryant's essence on Twitter has not exclusively been energizing for his fans yet fairly helpful for him which is eventually useful for the NBA. Frequently, tycoon competitors are seen as childish and self-assimilated, just collaborating with fans during good cause occasions and at times at games. In any case, in a general public where the normal individual makes $43,000 every year while the normal NBA player makes 5.15 million per year, there can something beyond a budgetary detach between the two.

Fans are continually searching for the approaches to chat with their preferred players and hear individual considerations so for any competitor to really open up about their lives can be compensating for the two players. Since January, Kobe has imparted his own insights, reacted to fans tweets and even gave discourse during games which is awesome for the NBA. The motivation behind why the NBA is effective is a result of the plan of action and showcasing strategies. Notwithstanding,Reddit NBA Streams in the event that competitors' tweets are streamed lived during games, at that point it not just gives as a decent promoting methodology for the NBA yet additionally it includes fan investment during the game.

The normal enormous market group gets forty million dollars from corporate backers, TV agreements, promoting and publicizing while the normal little market group gets fifteen million dollars. Alternately, if a famous informal community is utilized to build income for the NBA, it would fill in as a success win for the association and players. These days, competitors are likewise searching for approaches to improve their pictures in the midst of outrages, captures and class issues so every competitor could just profit by improving picture through Twitter. A year ago, Twitter was the third most gainful informal organization behind Facebook and LinkedIn while being the most coolest organization and generally simple to utilize. Because of that reality, business experts refer to issues with Twitter's business showcasing model as the purpose behind failing to meet expectations along these lines Twitter could just profit by an expert connection with the NBA. Twitter makes the basic competitor cool and a pervasive association significantly more pertinent however together the two can be a relentless power while improving the superstar of Kobe Bryant.

[chiseler]

A FEW QUERIES FOR MONTE HELLMAN

The cult director of Two-Lane Blacktop talks film theory, painting, politics, and, last but not least, actor Warren Oates.

Despite transparent light and searing heat, all seems frozen. Something clings to the landscape. Amidst Joshua trees and sagebrush, an ineffable presence surrounding even the stinkbugs.This is where George Stevens—who once said that Utah’s western desert ranges “look more like the Holy Land than the Holy Land��—filmed The Greatest Story Ever Told. Soon thereafter, a younger man breathing that same numinous air made a very different kind of movie. In fact, Monte Hellman made two: The Shooting and Ride in the Whirlwind, displaced and gritty, eternally unblessed, a diptych belonging to the Western, yet standing at a slight angle to it in the same breath. 

Monte Hellman entertains a few questions on this perennial state of unblessedness, and the peculiar tone of what are, in my opinion, misnomered movies—his “Existential Westerns.” And here, I’m after the concrete processes that actually drive Hellman’s characters, his post-modern wraiths. So we touch on film theory, painting, politics, and, last but not least, that revenant of 1960s/70s cinema, actor Warren Oates. Always the smallest glint of insanity in his face, no matter how benign the expression—to me, Oates is the dark side of amiability, with those burlap features and that corpse laugh of his.  

He reemerges in Two-Lane Blacktop, recently screened at Anthology Film Archives here in New York City. When I arrived home in the wee hours, after walking over the Manhattan Bridge with a buzz inspired by Hellman’s extraordinary film, I sent him an email. He responded almost immediately. A charmed night! Our short interview begins in Utah, where one big jowl with eyes (Oates) seems to well up from the parched earth of Monte’s no-man’s-land.  

DANIEL RICCUITO: Your movie, The Shooting (1966), emerges a year after the Stevens epic. Despite the shared location and profound sense of ghosts in the desert, your film couldn’t be more different—The Shooting is austere and scaled to simple, highly realistic storytelling. Of course, there’s also a pervasive dream-like atmosphere, so perhaps you’re telling a surrealistic story... with a straight face? I’m reminded of Balthus paintings in which the air surrounding the figures—his “negative space”—is always poised to congeal into dangerous forms. 

MONTE HELLMAN: I wasn't familiar with Balthus, but dream-like and surreal applied to realism seem apt. Years ago, when I was hoping to make a movie from Kafka's The Trial (before Welles actually did it), I knew I was going to tell the story absolutely realistically. Regardless of subject matter, I believe, along with Kracauer, that motion pictures are concerned primarily with physical reality. Of course artists like Cocteau sometimes bend reality, but they do it mostly through manipulation of the physical. My methods in The Shooting aren't really any different form those in Ride in the Whirlwind, although the latter tells an absolutely realistic story, while the former does not. 

DR: Does Ride in the Whirlwind have any political objectives?

MH: I don't usually dwell on "message" when I'm making my movies, but the phrase "guilt by association" seems to come to mind when I think back to the time of production. I seem to remember a conscious decision to forgo the concept of white hat and black hat in the movie. We also were conscious of an attempt to alter numerous clichés of the genre, hopefully to wreak havoc with audience expectations. I don't remember making the connection then, but there could be a case made that we were conjuring the McCarthy era.

DR: You mentioned defying audience expectations just now—and that was certainly my first experience with Cock Fighter (1974)—bewilderment. Especially after Warren Oates rips the head off a chicken, pressing it into the hand of his girlfriend as a love token. Did the humor/horror dichotomy bubble up of its own accord, or were you consciously going for shock value?  

MH: I think when you have the hypocrisy of an illegal sport blatantly being ignored or accepted by the law, it can't help being funny. Then-Governor Jimmy Carter visited us on the set, although he very skillfully avoided the camera's eye. Also, Warren Oates couldn’t help being funny.

DR:  How closely did you direct Warren Oates? I’m especially thinking of Two-Lane Blacktop.

MH: I don't "direct" any actors, least of all Warren. I try to choose actors I feel are capable of assisting me in telling the story.

DR: Were you aware of the intense feeling of loneliness in your compositions? It’s as if you channeled Edward Hopper.

MH: I don't normally think about the effect my shots might have, but rather what's best for telling the story. I do recall being aware of the feeling of loneliness the screenplay evoked in me. 

DR: The reason I bring up Two-Lane Blacktop is that I saw it last night – and let me tell you I can still feel my bones ratting from that old Chevy. It felt like I was inside the thing. Even now, your edit leaves me kind of giddy. Returning to Balthus for a moment, I have to mention The Street, a masterful painting from 1933, in which the people move as if in a dream. There are funny moments but, ultimately, the whole scenario is grim, which is precisely how your movie makes me feel. It’s a heady combo.

MH: Everything I do in movies comes out of my unconscious, much of it from dreams. I am aware of continually breaking rules. Some of my older editor friends and mentors were shocked at my disregard of rules, and surprised at how well these broken rules worked. My method was primarily to search for the most effective performance, no matter the angle in which it occurred.

DR: Afterwards, I walked back to Brooklyn feeling high.

MH: That pleases me.

by Daniel Riccuito

This interview was conducted by email in July, 2015.

[questionablygourmet]

I Like This Show A Normal Amount: Will Graham As Autistic Representation

In a previous meta post about Will, I briefly alluded to my appreciation for Will as good autistic representation, and for Free-For-All Friday, @tin-can-paladin prompted me to do as I’d said I might and write a Thing about that.  (Hopefully today is the day I actually get this post finished and up!)  So here we go.

First of all, this post will be starting from the premise that Will is an autistic character.  I don’t particularly care if Hugh’s said he’s not; whether or not he meant to, he and Bryan gave us an autistic-coded character and I reserve the right to be delighted about it!  (Actually, that’s not quite true - I do care, in the sense that I wish he hadn’t said that, because acknowledging portrayals of characters on the spectrum that aren’t a walking fucking stereotype played for lulz *cough BBT COUGH* or as a tragedy inflicted upon their neurotypical family members as being on the spectrum is Important.  But whatever.)

This post will address aspects of Will as a character, but also to an extent how he’s handled in the wider context of the show, and why that matters.

Agency

This was my primary focus on that previous Will meta post, but in context of autistic representation, I think it’s an important thing to highlight in this post as well: Will Graham is a whole-ass adult in control of his actions even when other characters don’t think so (see: Alana, Jack, et al in late season 1) or are actively trying to subvert that (see: Hannibal, You Asshole).

Autistic characters in various media are all-too-frequently infantilized and handled as though their environment/circumstances completely dictate their behavior.  Will both implicitly and explicitly (“You can’t reduce me to a set of influences” - ironically for a later part of this post, the next thing he says mentions behaviorism), resoundingly rejects this, and I love that as part of his narrative in general but also as an autistic character in particular.  

Empathy

This one’s gonna be a doozy.  There’s a lot to talk about here that all generally falls under the heading of “autism and empathy,” so I’ll do my best to stay organized.

First, the simplest: He cares!  So!  Deeply!  And complexly!  And we know that throughout the show!

Frankly, this in particular massively exacerbates my irritated wish that the creators would explicitly acknowledge him as autistic because holy shit the stereotypes he combats with this.  Autistic people in the real world have widely varied, diverse relationships with empathy and compassion (which are different things, and I have some beefs with the way the show uses the word “empathy,” but that’s a digression and this is already going to be a long post), but media largely erases this, conflating difficulties with normative, neurotypical-passing social behavior with inability to empathize, and/or display compassion, and/or even feel emotions (FFS).  

There’s a related point about “normative-passing social behavior” that I want to expand on a bit, here: we see a lot of profound differences in demeanor for Will over the course of the show, and that’s something I’ve seen interpreted as manipulation sometimes when it really isn’t.  (Not to say Will is not manipulative/capable of being manipulative, because he is, very!  But not everything calculated is necessarily manipulative, and I see the two conflated a lot and that annoys me.)  Will has, to my eyes, four basic social “modes.”  

I’m Dealing With Most People With Whom I Have No Particular Antipathy Or Affection - Aloof, and either standoffish or polite depending on how his boundaries are being treated.  He’s not particularly interested in making people comfortable when they’re making him uncomfortable (and being a white dude generally enables him to take this attitude without big repercussions), and people frequently make him uncomfortable.

I’m Dealing With Someone I Perceive As Vulnerable - Exaggeratedly calm, kind, careful.  He’s trying to connect and provide comfort and support.  He’s minding his every move and word because he doesn’t want to cause harm incidentally.  (Abigail, Peter, Walter, etc. and to some extent, Margot, though with her it’s mixed with other attitudes.)

I’m Dealing With An Enemy - This is where the manipulativeness (and even, particularly in the cases of Bedelia and Hannibal, cruelty) comes in.  He’s minding his every move and word because he wants to elicit a specific response from the person he’s interacting with.  (This comes into play with Jack and Alana at various points even though they are rarely full enemies.)

I’m Dealing With A Trusted Friend - Has neither the deliberation of 2-3 nor quite the standoffishness of 1.  He’s neither projecting an image appropriate to a specific kind of fraught social situation, nor actively trying to deflect attention and interaction.  In my opinion we really only see this with Hannibal (in season 1 and then with flashes of it in 2 and 3) and Molly, though he gets close in a handful of moments with Alana, Beverly, and Jack.  

All these modes deal with a) to what extent he is acting, and b) why he’s acting.  And I love that we get to see this breadth of social interaction modes from him, because that is an accurate and sensitive portrayal of an autistic adult, reflecting the often-dramatic differences in “difficulty setting” of an interaction - how and to what extent are we expected to (or otherwise have a need to) mimic neurotypical mannerisms?  What are the stakes of the situation?  These are explicit considerations for a lot of autistic people, and Will demonstrates that vividly throughout the series.

Another way in which empathy and social interaction come into play in terms of autistic representation is that Will can and does form strong social bonds - not very often, because the way most other adults treat him isn’t conducive to it, but with people who display acceptance/a lack of judgment for his non-neurotypical reactions and behaviors, and importantly, who don’t treat him as Other for the way he can reconstruct crime scenes, we see that can form very strong bonds.  Hannibal is obviously the prime example of this, but also Molly, and to a much lesser extent, Alana and Margot.  (Though Jack refers to him as a friend and they have some friendly interactions, their bond is not a strong one and not at all marked by the kind of humanizing acceptance it takes to get truly close to Will.)  People who accept who he is, and who are neither threatened by his skills nor dependent on them.

Finally, in this section, let’s look at the crime scene reconstructions and “getting inside killers’ heads” bit.  

I have complex feelings about this aspect of the show, or more precisely, how other characters talk about his reconstructions and serial killer profiling - they (even Hannibal, to an extent) talk about it in mystifying terms, and I thoroughly dislike the term “empathy disorder” that gets thrown around so much in seasons 1-2 to explain what he does.  Will is apt to testily correct people that he just interprets the evidence, and that is exactly what he is doing.  His vivid imagination coupled with years of active study of criminal psychology allow him to take that interpretation a lot farther than anyone else would, and sometimes make intuitive leaps that the other characters can’t follow.  But it’s clear that this intuition is founded in concrete evidence, as we frequently see him stymied when he doesn’t quite have enough of it, much to the frustration of Jack, who is particularly shitty about treating him like an oracle.  

I like that Will gets to stick up for himself and correct people on several occasions, but I wish the ableism and the Othering was less pervasive amongst the other characters because it makes me want to slap them.  I find that I really appreciate how most of the fic I’ve read since entering the fandom thoroughly and often explicitly rejects the pseudo-magical divination and/or Crazy Person With Magic Brain angle.

Perspective

There was something I was reaching at that was eluding me in my first attempt at this draft, and then I ran into an excellent article about writing autistic characters that suddenly and thoroughly solidified it for me.  It’s really brilliant; it discusses and illustrates the strong difference between a behavioristic (see previous reference) approach to characterization and a humanizing one.  Behavioristic analyses divorce themselves from the actual mindset and experience of the subject, whereas humanizing portrayals display the subjective experience of the person who is perhaps behaving in a way other people may find confusing.  

Since Will is the main point of view character in the show, we get front-row seats to his subjective experience and can therefore more properly empathize with him.  An abnormal reaction to an abnormal situation is normal behavior.  The behavior that Jack and various other characters are exasperated, impatient, and/or unnerved over all looks pretty reasonable when we know how Will is experiencing the crime scene, or are seeing his nightmares and hallucinations along with him!  And while the nightmares and hallucinations in season 1 are a matter of encephalitis and trauma rather than neurotype, it still matters that we’re led to understand something of what he goes through, from his own perspective rather than an outside one.  

It’s incredibly necessary emotional context moving forward in the show, giving us an autistic character who is flawed but deeply human and whose darkness we can understand.

[deathlyharlows]

TASK #6 HARLOW VALENTINE - CHARACTER ANALYSIS + TASK #4 BONDS

UPBRINGING 

One of Harlow’s main KEY MOMENTS was the moment she was “born” or as she would say “woke up” or “crawled out of Hell.” She’s not certain on what happened or who she was before that-- She also didn’t take the time to actually worry about that, and while she has some kind of lingering feeling that there was more than just the Hell she was trapped in-- She poses the question: Would it change anything? And since the answer is no... WELL. 

That’s the truth, anyway, if Harlow ever remembered her human life, it wouldn’t change a thing. The biggest reactions that would be pulled from her would be something like “good to know I’ve always been this way?” followed by a possible whiplash that comes with knowing she’s old as fuck-- then go on her merry way. 

While I don’t have a set amount of times in which she’s gotten out/escaped from Hell, or the years she actually spent outside in her “other lives”, I can say-- aside from her actual human life-- current Harlow is possibly the tamest version. 

INSTINCTS/ RIGHT vs WRONG  

It didn’t matter if she was “a clean slate,” she was still a demon-- Which if you come to think of it, are basically mass destruction weapons freshly out of Hell. And while Harlow didn’t have any lingering recollection of anything, she was “pre-set” from day 1.  Having these natural impulses of wanting to self-serve herself, to take everything and anything she wants without paying for it, of destroying and creating chaos and pain, just because she felt like doing it or because she felt it’s fun.  A PREDATOR in the whole definition of the word.   

In the end, it also wasn’t just because she was a demon. She was already part of something, a soldier ready to be thrown to war-- or in this case missions to do whatever her boss asked of her. It’s only ironic, that I feel, had she not been kept under Jack’s domain-- she probably would’ve been wilder-- past and present.  

As time passed, and Harlow actually started being more self-aware-- She could realize pretty much everything she liked to do, and everything she did was morally and legally  WRONG. But that’s when the next part came, she didn’t care enough to go against it. So she continued and continues... 

Stealing? Good to get something for free! Harming people? Fun! Torturing people? Double fun! 

MURDER

Some people relief stress by drinking, smoking, doing drugs, having sex, or involving themselves in different activities-- Either it's harmful to them, or it's healthy. Harlow’s stress relief? Is harmful to others: Murder. 

It’s come to a point where killing someone is nothing to her. There could be a bunch of reasons why she does it. Fun? She was bored? She wanted something from someone, so she took it? Revenge? The answer is almost always the same-- Murder. It probably shouldn’t be, but killing someone is one of Harlow’s knee jerk reactions or solutions for almost everything. Pretty much so, that if she hasn’t murdered (or harmed) someone that has either annoyed or pissed her off in any way-- It means something. 

It brings the question, though-- Is it Harlow, or is this normal demon behavior?

Psychologically, speaking-- Harlow could be easily lumped in with a personality disorder, more specifically: ANTISOCIAL:  a pervasive pattern of disregard for and violation of the rights of others, lack of empathy, bloated self-image, manipulative and impulsive behavior. Subtype: COVETOUS. 

Sidenote: Let’s keep in mind this is not a human character, so maybe psychology doesn’t even apply to demons asderftgyh

However, as much as she hits some (if not most) of the criteria. There is one strong characteristic that brings down the conclusion of Harlow having APD. 

EMOTIONS  

These have always been something quite difficult for Harlow to understand. She knows she has emotions and feelings, and she doesn’t exactly push them away. At times, she’s wondered if this is how it’s supposed to be. Do all demons have difficulty telling them apart? Is she even supposed to have them? Or do all of them actually have them, don’t have trouble telling them apart but they just choose to ignore them? It’s not like she can go (or trust) another demon for her to ask and have a heart to heart (ew), or for her to be “Hey, let’s compare!” so she manages as best as she can. 

There is a name for this: ALEXITHYMIA.

In her case-- Most of the times, if the emotion isn’t as “explored” she tries to make sense of it, to understand it. It’s only with time that she eases into it, and becomes familiar with it. Considering 22 years have passed since she started with this process of literally categorizing emotions, she would say she has some pretty recognized, but, boy does she have some way to go...

Recognized: Anger, amusement, happiness, annoyance, boredom, curiosity, confusion, disgust, envy, jealousy, lust, pride, guilt, regret, surprise, worry. (Mainly)  

Halfway/currently: Love, fear, anxiety. 

Unexplored: Sadness, grief, loneliness. 

This is obviously a rough list, and the ones I think are important when it comes to her character. 

The previous is only when it comes to herself. When it comes to other people and their emotions or display of these-- Is a completely different thing. 

In the first years, just like with her own emotions, it was rather hard for her to notice what other’s were feeling. An expression was just that-- An expression. It didn’t hold any true meaning, and she wasn’t able to attach it to an actual emotion. Just like with herself, with time, she started connecting expressions with emotions. 

Ironically, I think the ability to recognize them on others was easier than on herself. Surely, she learned faster with emotions she was shown more often. Fear and anger, the main ones. There are probably still a couple out there which she isn’t shown that much that probably could slip her by. 

EMPATHY

Going hand in hand with overall emotions comes empathy. Is it possible for someone who cares little for others to feel such a thing as empathy? The answer here is yes. However, most of the times is more something superficial than rooted in. Taken in from a logical perspective, instead of an emotional way. Harlow isn’t one to “walk in someone else’s shoes” but she can begin to understand where someone else is coming from, or to “read them”. Varying on the situation, of course. In the end, it’s only up to her if she wants to be sympathetic towards the person/people in question. 

For example, going back to the murder situation-- When/If someone who she’s about to murder, is crying and begging for their life, Harlow would know why, and understand it. Despite the fact, she’s never felt sadness or doesn’t have full recognition of fear when it comes to her. 

Of course, there also instances in which, even if she wanted to understand-- it’s not even possible.  A good example of this, was when Will begged her not to kill the hunters. Putting aside the fact she’s not all that fond of him, Harlow couldn’t even get why he was so against it, if he wasn’t the one killing them. If they had tortured her and would’ve possibly killed him. 

Like with everything, this empathy comes easier when is people she’s closer to. Which aren’t many because-- 

RELATIONSHIPS 

Establishing relationships with people isn’t exactly a MUST for Harlow, while she can actually make them easily with little effort, she maintains them at a certain arm length. Why? Because in the end, others are rather disposable. A “friend”? She could easily leave one behind and get another one, right? She knows that’s not right, that she’s not supposed to do that. Use people to get what she wants, or to save herself/make herself seem innocent of something she’s actually guilty of. But that’s the thing-- For Harlow, only Harlow comes first. 

JACK ALVAH: Her boss.  

Jack is another one of Harlow’s key moments. It’s funny to say, that if it hadn’t been for Jack, Harlow most likely wouldn’t have tried to be a functioning member of this society (lmao). Think of a loaded aimless gun, just shooting off everywhere and anywhere. Surely, she’s still a loaded gun-- But at least there’s some aim and/or direction.   

So how was Jack the reason, Harlow isn’t a complete savage? In the most abstract of terms-- Harlow could be considered a soldier. She follows orders, directions, instructions, so on. Those require certain discipline. It is only odd to consider that a demon as rebellious or unapologetic as her would do such a thing or follow someone else’s command. There is an explanation for that-- In some messed up way, Harlow was somewhat GRATEFUL for Jack.  What the fuck, right? But I guess when you spent fuck knows how long being tortured in Hell, and suddenly you’re not-- This was the jack(haha)pot.  

Not to mention that for the longest of time, Jack was basically all Harlow knew. Surely, there were her other “co-workers” but in a place like this, friends aren’t really a thing either. You kill or you get killed. You use or you get used. Simple math. Whoever doesn’t get that, then well, it’s their own damn fault. 

So why didn’t she try to go away? Call it convenience, rather than loyalty. The “training” and missions started, and Harlow was like “hey this isn’t bad at all” -- she was out of Hell? She got to do the things, the usual people would frown upon, without anyone in there bat a single lash? And on top of that, she could easily get things she wanted? Sign her the fuck up. Yet, Harlow knew Jack wasn’t a friend. No. He was using her-- She was nothing more but another tool. Whatever. To her, he was also a mean to her own ends. 

CLAUDIA DAVENPORT: Her everything. 

Remember when I said, “for Harlow, only Harlow comes first?” Well, hahahaha... 

Chronologically speaking, Claudia is key moment 3, 4, and possibly more, depending on what happens down the line.  Truthfully, I’d say these are the most important. 

By the time, Harlow had already been around for 17-ish years, she already had climbed up and made a name for herself among Jack’s crew. What can I say? She was good at completing her missions-- whether it was murdering someone, getting information, or pretending to be a specific type of person... 

It was odd at first to learn that her boss had a daughter (and a son)-- Him? Having children? Even Harlow knew that wasn’t something she’d hear, but hey, what did she know about family and things like those, except for what she read and watched in movies. There wasn’t much of a second thought about that, until one day, she got called over and was told to look after Claudia. That was the complete opposite of what she did. Was there an option to make someone else take on that? Maybe, maybe not. It wasn’t like Harlow complained, perhaps she was curious on what it was to be a normal person.

Technically, she hadn’t been told she had to befriend her, still, that’s what she did.  It was so easy. They joked, teased each other, talked about anything and everything, watched movies, and spent most of the day/their days together. Those apart, Harlow couldn’t only look forward to the day they did. Was this what having a real friend was like? Not looking for the knife behind her back, not expecting an eventual fall? Being around Claudia was nice. It was good. Even if they weren’t. Harlow felt this kind of happiness that simply wouldn’t come with other people, or doing the bad things she liked to do. It was different, and she definitely didn’t hate while she didn’t understand. All of this made it so easy for Harlow to also forget, this had all started out as a LIE. Harlow didn’t really see it as one, when she was being herself. She wasn’t pretending to be someone else, it was herself. So maybe if she ignored it, it wouldn’t go wrong--

HUH OH. 

Just like she didn’t understand, why she was feeling the way she was around Claudia, or what those emotions meant. She also didn’t know there was a possibility that Claudia could be feeling the same. Until she was close to her-- about to kiss her, and Harlow’s dumbass went off like ‘hey, this is not something friends do... right?’ still, I don’t think she would’ve stopped it hadn’t it been for Jack suddenly doing it himself. Saved by the bell? Not so much when he also pointed a finger in Harlow’s direction to say she worked for him. Now-- she didn’t see that one coming. So the gig was up, job over-- Now off, to more missions. Except, Harlow truly hadn’t seen Claudia as a job. She was a friend. Her first and only friend for that matter. And now... she wasn’t, because of what she did. And a couple of new feelings surged after that, like something weighing her down. They weren’t fuzzy or made her feel good-- Complete opposite. Something was missing-- Eventually, realizing she missed Claudia. But there wasn’t anything she could do about it now. 

To say Claudia has thrown her off her game in several ways is definitely an understatement. The years passed, and Harlow still missed Claudia-- not always consciously, but always there. She most likely thought, she’d never see her again, until another day came-- And she was back to being the bodyguard. Which she would go on facefirst. 

Fairly, Harlow didn’t know what to do. Things weren’t how they were (obviously) and she did what she did best-- PRETEND.  Maybe if she pretended like they were still those two teenagers, it would be the same. WELP. She also didn’t understand how or why Claudia didn’t hate her, or why she hadn’t looked to pay her back. (Because Harlow often forgets not everyone is out for revenge) Current time, I don’t think she fully grasps Claudia's reasons not to, and that's also the thing… By now, Harlow has come to terms that they wouldn't or couldn't be the same, and they will probably never be able to be friends. It’s with that, Harlow is aware of the feelings she has for Claudia, easily embracing them. Going "fuck it" and kissing her is a major step when talking about this realization. It's only funny, (and a bit frustrating) that it hasn't downed on her these feelings mean she's in love. I mean, how could she, when she's never been in love? How could she tell when there has never been anywhere to look to and say "oh, so that's love." It’s not like she’s been shown any type of love either. She's slowly but surely getting there, okay. Baby (?) steps.

I can say, though, Harlow has always been in love with Claudia, and she most likely always will. I don't think she would ever be able to love someone else the way she loves her. Here's why: It would mean, she'd have to allow herself to be friends with someone else (you know, the kind of friend where she wouldn't sell the other for a cornship) and even if she did, she would be looking for Claudia in them, consciously and unconsciously.

Claudia is special to her, and so, she would do anything and everything for her.

Let's keep in mind, Harlow is inherently greedy so, yes, she wants Claudia to feel (just feel not do, I'll get to that in a moment lmao) the same way she does for her, aka love her back. (Because, Harlow isn’t a mindreader-- she can see Claudia’s eyes light up, she can see her smile, and giggle. Yet, she doesn’t correlate that this could mean Claudia loves her too, hah) 

But even if Claudia didn't, (or if she stopped) it wouldn't change a thing for Harlow. She still would look after her and put everything aside to keep her safe. What do I mean when I say not do? Considering Harlow would literally set herself on fire if it meant Claudia remained-- she doesn't want her to do the same thing for her. "I set myself on fire, not you."

There’s this quote, I found some time ago:  “Love is madness, doesn’t everyone agree that you’d do anything, endure anything, to be with the ones you love? So either you’re willing to let them use you with any sort of cruelty, so long as they keep you—which makes you a fool—or you’re willing to commit any cruelty, so long as you get to keep them—which makes you a monster. Either way, it’s madness.”

Personally, I think Harlow is part fool, part monster-- She would do and endure anything, even if it wasn’t to be with her.  She would die for her. The part fool, right? Especially, because Harlow would think the same thing about other’s who’d do the same as her. Willing to die for others? Pft. But Claudia... She would do so, she would easily accept (to herself) that she’s a fool. On the other hand, she would also commit any kind of cruelty for the same reason-- For Claudia. Not to keep her though. Harlow might be possessive, yet she’s capable to comprehend Claudia is her own person. Being willing to commit any kind of cruelty, can become dangerous when Harlow can’t tell apart an enemy or a threat, from a possible ally or friend. (Also, see: Lizzie Saltzman) 

In a few words: Harlow would attempt to smite everything and everyone around her, for Claudia’s safety-- and if all that fails, she would die as one final try. 

To try and wrap this section (WHEW) while it might not be played out because it would mean Harlow is not generally bamboozled by her own emotions-- I think to a degree, Harlow would generally WORRY about the implications of being in love with her. Not because she thinks love is a burden, funny enough, but because she’s aware, she’s not a good person at all. (And that they aren’t surrounded by the easiest or safest of situations) She knows that even if she never intended to-- She’s hurt Claudia in the past, and she doesn’t want that to happen again. She wants nothing more than her happiness, because for her Claudia deserves to be happy-- and she would also attempt anything for that, as best as she can. 

WILLIAM FLYNN VS MAXWELL HARVEY VS LIZZIE SALTZMAN: Her dumb bitch moments.

The first of these three she knew of was Will, of course. Simply by association. She knew he was Jack’s son, and therefore Claudia’s brother. That was as much importance as Will would have to her. There are two reasons why Harlow (despite not being fond of him) hasn’t thrown Will in harm’s way. a) There is a “do I get something out of selling Will out?” Ehhhh.... but this was heavily countered by b) despite not being told by Claudia herself that she knew of her brothers-- Harlow cares and respects her so much, she won’t do that just because. Now, if Claudia went “idgaf about them” then it be “well, tough titties, willie.” It’s funny to me, how there are similarities between Will and Harlow-- they’d do anything to protect those they care about, they wouldn’t back down from a confrontation, they attack first and ask questions later, they have complexities when it comes to emotions-- yet they don’t get along at all. As a matter of fact, Harlow would say she doesn’t like Will. It sort of brings me the question if Harlow truly likes herself lmao (she does, but she’s a hypocrite sigh) Maybe in different circumstances, maybe in the future-- she will actually see eye to eye with him. Be friends? That’s it-- Only if Harlow hasn’t done more to fuck things over in the general scheme of things.  :/ 

Comes in, Maxwell Harvey-- Harlow didn’t know about this sibling, and frankly the only reason why he didn’t get served that one night at the alley, was because she looked like Will lmao Same “this is Claudia’s brother” rule followed, whether Claudia knew about this one or not. Even if at first, Harlow couldn’t see over “fucking great ANOTHER William??” it is also funny how it seems to be that she genuinely likes Max better.  Here’s why-- Taking away the fact, Harlow found amusement in his fear and toying around with that... Meeting Will, he fought back and didn’t make her night easy-- Will fights back and goes head to head with her, and generally, this would earn someone a stab from her. (Which she knows she can’t do) She thinks Max will be the same-- Color her fucking surprised when Maxwell suddenly goes “i’ll do anything for you” and throws his own fucking twin under the bus. Harlow is like “yo.... RESPECT” and actually thought he was smarter than Will, who could’ve died. (aka not smart) Now-- Had Maxwell thrown Claudia under the bus, instead of William-- He would’ve become #1 enemy in 0.1 seconds.  

Finally, her ultimate simultaneous dumb ass bitch yet actually smart if put in a certain perspective moment-- Lizzie Saltzman aka “that blonde bitch at the beach.” The only reason why Harlow could even know about her existence, was because she saw her around Claudia, and her brain cells didn’t get enough oxygen for her to stop for a second and think “hey, this could be a friend.” No, the dumb bitch goes “whothefuck?” and JUMPS. Finding her was mere accident-- And she wanted answers. Who was she.  (Not jealous at all, psth... *Michael Scott’s cringe face*) That turns into actual annoyance, when Lizzie-- like Will-- goes head to head with her. Except, this girl didn’t mean anything to Claudia, did she? (oh boy) So she could get rid of her. Lizzie fights back, and man way to poke the demon. Now, Harlow has a petty vendetta-- Only she could be the biggest blonde at the beach. Her pettiness, becomes into an actual plan, though. By this point, Harlow believes Claudia to have broken Will out from where Jack got him-- And bitch, is she fucking tearing her hair out at what could happen if Jack knows this. Her mind goes directly to-- “would he kill her? worse?” and you know.-- no-no. So she looks at Lizzie “knows William and Claudia, but would probably die before saying anything” Saltzman, and goes: PERFECT. (Nevermind the fact, Lizzie was actually involved and is Will’s girlfriend, ohp) She thinks if Jack focuses enough on Lizzie, then Claudia will be safe. And you know, her mind would’ve probably done something, had it not been because Lizzie is a friend, and i-- :))))) Just like with William, I think Harlow could get along with Lizzie just fine-- in banter level friendship. You know, once again, if by the time a future comes... Things haven’t gotten even more fucked. 

In conclusion, of all this clusterfuck that is Harlow: 

[giantpredatorymollusk]

ratcliffe et al. (2014) present a compelling model of the relationship between trust, trauma, and the perception of linear time in their paper “what is a ‘sense of foreshortened future.’” first, we’ll establish the mindset of the normal, non-traumatized, well-adjusted, basically trusting human being; someone who “takes it as given that their foot will land on a flat surface as they take a step forward, and that the coffee they are about to sip will be warm.” such people experience the past, present, and future through the lens of their evolving internal life narrative, which is rendered intelligible in large part through contact with other people, who lend it context, salience, and meaning.

however, those who lose trust in other people due to some form of trauma (generally also losing trust in circumstances and in “the world” overall) will find their life’s narrative slowly eroding away. they find it more difficult to imagine potential in their future, due to their increasing inability to trust other people and “the world” to allow it to have any meaning; and because of this lessening in their ability to evolve their “life narrative,” they also end up in a difficult relationship with the past: basically, it means that they are no longer as able to re-interpret or contextualize it. this results in memories (especially the traumatic ones, for example in the well-known case of PTSD-induced flashbacks) being re-lived, rather than recalled in the normal way (within the context of an ongoing life story). so, this view of the future makes it much more difficult to move on from the events and circumstances that caused it, which leaves one trapped, circularly, in one’s current mindset: unable to trust in the future or to leave the past behind.

summary over. now, the fun part:

In many other contexts, conflicts between explicit evaluative judgments and anticipatory style are commonplace. For example, someone who is bitten by a dog may then experience dogs as menacing and unpredictable, despite “knowing full well” that the incident was anomalous. The point applies equally to the more profound and pervasive effects of interpersonal trauma.

yeah, that’s... pretty much how it works, isn’t it. it doesn’t take that much to give people kind of irrational (like, valid, but irrational) mistrust of certain things for the foreseeable future.

Relations with other people serve to shape and re-shape our experiences and attitudes. Even mundane and short-lived interpersonal interactions can be self-affecting... “By our very attitude to one another we help to shape one another’s world. By our attitude to the other person we help to determine the scope and hue of his or her world; we make it large or small, bright or drab, rich or dull, threatening, or secure. We help to shape his or her world not by theories and views but by our very attitude toward him or her. Here lies the unarticulated and one might say anonymous demand that we take care of the life which trust has placed in our hands”

god.

We all know people in whose company we would prefer not to go shopping, not to visit a museum, not to look at a landscape, because we would like to keep these things undamaged. Just as we all know people in whose company it is pleasant to take a walk because the objects encountered come to no harm. These people we call friends, good companions, loved ones.

Interactions with others can thus facilitate changes in perspective, which are often subtle but occasionally quite profound. After interacting for a prolonged period with a particular person, the world might seem strangely impoverished or, alternatively, alive with new possibilities... a sense that “this is not all the world has to offer,” an appreciation that there are other possibilities, however indeterminate those possibilities might be.

fuck

[However, a traumatic event survivor] no longer believes in the very possibility of human connection; he envisages no one who will be present to him and for him if he returns in his mind to the places of horror, humiliation, and grief from which he barely emerged and which continue to haunt him.

Consequently, one’s predicament is not experienced as a contingent one; the world no longer offers anything else.

:|

When trust is lost, traumatized people feel that they belong more to the dead than to the living... Existential death, Rouse explains, 'is not an actual event, but a comportment toward the ever-impending possibility of [our] own impossibility.' 

my high school notebooks were kind of depressing:

and. i do suspect i am often unable to leave that exact past version of myself behind. the version that didn’t have “likes” on tumblr for emotional support during distressing times. this paper offers a model of how more functional people deal with that stuff, at least in part: they’re better at having trust in circumstances, and they have a life narrative that still has potential that they’re working on, which i think basically gives perspective when thinking of past events. to break a self-reinforcing preoccupation with the unchangeable past, i think a new circular phenomenon is required: the ability to borrow the ability to trust other people, so that you have the requisite trust in other people’s minds to allow yourself to borrow things from them in the first place. can this be done? could i do it?

anyway. don’t think i’m presenting this as like the "solution” to overcoming trauma, mindset is important i assume but also like... if i personally lived somewhere else then i think i’d feel better, for example, there’s a limited extent to which you can just think your way out of these things. but this model is fascinating to me, and i do think it’s useful in a diagnostic way, like articulating a problem clearly so it can be identified, like just studying a disease, even if that doesn’t quite cure it. okay, so i just reached the point where i’m questioning why i’m doing this. see you later kids, remember to like and subscribe

[thecloserkin]

fic rec: Dante’s Stars by Pretani

fandom: A Series of Unfortunate Events

pairing: Violet Baudelaire/Klaus Baudelaire

word count: 94k, complete

Is it canon: Yes

Is it explicit: Yes

Is it endgame: Yes

Is it shippable: I’m fucking crying it’s so beautiful

Bottom line: The one and only Violet/Klaus epic, read it and bawl your eyes out (def read the warnings first tho)

It’s a canon-divergence AU where the Baudelaires stage their own deaths to escape Count Olaf. In canon the three Baudelaire orphans—inventor Violet, bookworm Klaus, and baby Sunny—are hounded from guardian to guardian by cartoonish villain Olaf, who will stop at nothing to get his hands on their fortune. Olaf murders or incapacitates every single adult who spares two seconds of sympathy for these kids, leaving a wide swathe of destruction in his wake. In this fic the Baudelaires have decided to wipe the slate clean and assume new identities.

I have mentioned in the past how salty I am about the Baudelaires’ characters being sidelined for Snicket the narrator, Olaf the villain, and/or sundry other bit-players (in the Netflix show the Henchperson of Indeterminate Gender p much steals every scene they’re in). In canon we’re not really privy to the kids’ inner lives. This fic avoids that pitfall by sticking with tightly focused third-person Violet and Klaus POVs.

The thing this fic does really well is instill a pervasive sense of dread/paranoia which is remarkable because for the first 25% absolutely nothing ominous happens. The orphans get taken in by a slightly addled, very nice old lady and they just … live in her house. For free. While she cooks for them. And every morning Violet and Klaus hook up in her barn.

Ok back up so the ship they’re passengers on goes down in a storm, all hands lost, the Baudelaires are presumed drowned with the rest. Which is positively providential. The first event of any import to occur is that Klaus swipes some cash from a dead man’s wallet. Violet has ethical qualms but Klaus quashes them by pointing out that Sunny’s starving:

”I’d do anything for her,” he said. “Even become a thief or a murderer.”

Then his dark eyes found Violet’s. “I’d do it for you, too.”

So on the one hand I think this is rather extra. I mean, what possible use could a dead man have had for that money? Money that could put actual food in Sunny’s stomach. The Baudelaires are keenly aware that justice does not equal unquestioning obedience to authority and I think their exposure to a raft of tyrannical and unjust authority figures has hammered that home. They’re down with bending the rules because they know the rules are never even-handedly applied anyway (ie. the show trial at Hotel Denouement, the farcical final exam at Prufrock Academy). On the other hand I remember how uneasy they felt about stealing Hal’s keys in Hostile Hospital, and that was barely a misdemeanor! A friend of mine astutely pointed out how Violet is always trying to behave in any given situation the way their parents would have wished, whereas Klaus takes a pragmatic approach: do whatever keeps his sisters safe. And that is a very interesting contrast and one I want to see explored further.

They get on a train. Things that happen: Klaus notices when Violet is down in the dumps or angry or upset or in this case, wistfully jealous of other people who lead “normal” lives, bustling all around them. He’s not in love with her yet but noticing is the first step. Violet atm is super focused on being the elder sister, the adult in the room, the One In Charge. They get off the train and as soon as they blow into town Violet gets catcalled and propositioned. One of the themes of this fic is the horrendous baseline level of violence against women, some of it normalized and casual like the catcalling. The Big Bad Villain of the piece is literally a guy who’s murdered multiple girlfriends on account of them fridging his ass, since he appears to think that women owe him sex. And this man’s driving ambition is to add Violet to his list of conquests.

So often, men treated her as little more than an object … Klaus was different. He saw her, the woman she was inside.

HOW COULD SHE NOT FALL FOR HIM?? Is there another man she could learn to trust enough to fall in love with? However I’m getting ahead of the story. Klaus is still in the phase where he’s awakening to his attraction to Violet:

She was mother and sister, soft skin and tender strength, and he hid his face in her neck. Like a child, she rocked him gently, cradling his head.

I have to protect her, even if it’s from myself.

He couldn’t take this, his brave, beautiful sister, so near … the knowledge of what those men wanted to do to her. I”ll kill them … And what he wanted …

God but it kills me, Klaus thinking that his attraction to Violet is as noxious as those vile men and their rapacious stares. Klaus himself otoh is president of the Violet Baudelaire Fan Club. The contrast could not be more marked. Look at him building her up when she’s about ready to to give up on picking a lock because she’s lost her hair ribbon:

”I’m done, Klaus. I don’t have anything else to give”. ”Vi … “ he was pleading, willing her to believe in herself again, because he did. “You’re a brilliant inventor,” he told her. “It’s who you are. Nothing can take that away. You don’t need your ribbon.”

The unwarranted parallel that he draws between himself and a bunch of sexual predators is the source of so much angst and pining:

Is that what I am? A pervert?

She’ll blame herself for this

Well, well, well, if it isn’t ye olde I’m-Leaving-Her-For-Her-Own-Good-Lest-My-Perverted-Attraction-To-Her-Despoil-Her-Innocence. I am absolute trash for it every time, film at 11.

”I love you, Vi … I’m in love with you.” He said it like he was confessing to a crime, and she wanted to scream, to laugh and cry all at once.

THEIR LOVE IS A CRIME!!! Could these babies be more pure??

They’d always had an extraordinary connection. It was the reason for their seamless partnership, their ability to support one another … But now, the bond that had kept them alive was killing him. How could anything ever be right again?

”Vi, I’m sorry … I want to be your brother, but I can’t … I want to be more than that … I don’t know what to do.” ”Kiss me,” she said, “and be both.”

THATS IT THATS A WRAP I CAN NOW DIE HAPPY. That “kiss me and be both” is PERFECTION.

And she knew she’d never willingly give herself to anyone but him.

she’d loved him even then. Who could tell when they had crossed the line? It was already too late.

cross the line what line??? they were made for each other.

”You know, we missed the sunrise,” he said, nose to nose with his sister.

Violet and Klaus carve an extra hour out of their morning to go make out in the barn. I shit you not these kids spend a whole month without progressing past first base because Klaus doesn’t want to “pressure” Violet into anything she’s not ready for. Violet, for her part, is beginning to suspect there’s something wrong with her person; why hasn’t he even tried to take her top off? Thank you #Patriarchy for teaching us that desirability is the measure of a woman’s worth. God they are so thirsty. This bitch almost fell over the first time he touched her tits:

“Vi,” he spoke into her hair, voice breaking. “Tell me you don’t want this. Tell me to —“ But she only titled her head, to meet his mouth in a feverish kiss.

So Klaus and Sunny are having a snow fight and Violet tugs her glove off to tousle his hair and it’s THE SEXIEST THING I’VE EVER SEEN BYE. True story after I read this fic I legitimately thought that “Vi” was a pet name Klaus called her by in canon, and when I finally finished the books much much later and realized that it wasn’t—well, it should have been.

There is a fairy tale about a princess who disguises herself in the skin of a donkey to escape the attentions of her lecherous father the king. Violet and Sunny discuss it. Violet points out that rape is wrong because rape is rape, because it is coercive, not because it’s incest. I love it when fic highlights the fairytale parallels to the Baudelaires’ situation, and I feel like Donkeyskin was such a spot-on choice because it’s all about surviving sexual assault and learning to make oneself vulnerable again afterwards? Klaus is the prince who sees through her disguise and falls head over heels in love with her CHANGE MY MIND. On the subject of happily ever after:

”Is that what you think I want? A fairytale? A walk down the aisle in a white dress?" He felt a lump forming in his throat. "Most girls think about those things, don't they?" "I don't," she told him. "I prefer not to. And as for children…well…I love them. That's why I don't want any of my own … how selfish would I be, to bring another little life into this? Another hostage they could use against us. Imagine how awful it would be if…" She shook her head. "No children… not ever. I couldn't protect them." And she turned to him with a soft look. "It's no sacrifice, Klaus. Not for me. I've already been through a… a wedding, you know." He felt her shudder, and she averted her eyes. "I won't be sorry if I never see another wedding dress again."

My dudes, when you have children each and every one of them is a hostage to fortune because of course they are. Also, Violet’s traumatized by the whole idea of being a bride, after going through the wringer of her fake wedding to Olaf. Olaf put Sunny in a cage to compel her compliance, and that’s what the Big Bad in this fic does too. He says things like “You’re a sick little bitch, aren’t you? Spreading your legs for your own brother” which turns their beautiful relationship into this ugly depraved thing to be ashamed of. I mean, this guy was literally a voyeur who would watch them from his hidey-hole while they were being intimate?? My god I would feel so unclean. And the worst part is, he overheard them calling each other by their real names not their aliases, so now he knows who they are and since the Baudelaires are still on the lamb this is bad. It gets pretty dark pretty fast.

“He won't want you anymore! No one's gonna want you when we're done!"

So he kidnaps and rapes Violet. Klaus and Sunny rescue her, dispatch the villain (Klaus’s earlier “I’d do anything” for his sisters, including becoming “a thief or a murderer,” acquires sudden resonance), and that’s when fucking Count Olaf shows up!!!! These kids just cannot catch a break. Turns out the Big Bad was actually working for Count Olaf all along. Olaf’s plan is still the same plan from The Bad Beginning where he plotted to steal the Baudelaire fortune by marrying Violet. Since Count Olaf has never in his life paid a henchman a salary, he was keeping the Big Bad sweet by promising to let him ravish Violet first. Let the full enormity of that sink in. Oh wait a minute Olaf isalso bent on knocking Violet up asap so the union can’t be dissolved on non-consummation grounds, or somesuch:

"You look at me as if I were a usurper, boy, about to steal something of yours. Tell me…" He gestured at Violet. "Is she yours?"

Why would you do this to me??????? This is so, so painful. Olaf uses an electric cattle prod on Klaus and makes Violet watch??? It’s ok though the Baudelaires prevail in the end, and emerge from the bloodstained ordeal as the family they are. My kink will forever be Violet and Klaus praising each other’s bravery and resourcefulness. They! Are! So! Proud! and! Supportive! Of! Each! Other! This line from earlier in the fic gets me every time:

I’ve failed them. This was his greatest fear, worse than death or any torment fate could devise. In his head, he imagined the struggle, saw his girls beaten and shot, felt each blow and bullet as if his own body were the target instead.

Klaus Baudelaire laying down his own body between the world and his sisters is really the only thing I care about:

And then her gaze fell to the marred canvas of his body.

I bet his back is a mess of burn marks ugh. Four weeks after Violet’s discharged from the hospital (practical Violet made sure to get the green light from the medical professionals) they finally have sex again, which is a relief—after the rape they were both hesitant to initiate sex because she thought she was damaged goods and he thought she wanted space? Silly kids. Oh and and here they are being mistaken by strangers for a pair of lovebirds:

One of the women sighed dreamily. "Did you ever see a more likely pair of turtledoves?" "Of course not," Mr. Poe sputtered, dabbing his brow with a handkerchief. "The very idea!" And he excused himself hurriedly, to make some phone calls. "Don't be silly," said the other. "They're siblings. Haven't you heard? … They're the Baudelaire orphans." "Well, I daresay," the first one went on, "anyone would've taken them for sweethearts."

I CANNOT WITH THESE TWO

The Baudelaires finally, finally come into their fortune free and clear. They put on their parents’ wedding rings and move to Canada. A cat (!!!) leaves baby Beatrice II in a basket outside their front door, and that completes their family. Nobody deserves good things more than these kids, and this fic ends exactly where it ought, describing “a rural life of moral simplicity.”

I read this fic years ago and it was w i l d rereading it again, thanks for coming along for the ride. If anyone wants to scream/cry about this fic in particular, or Violet and Klaus in general, feel free to send me an ask or message me ANYTIME

[bookandcover]

Cloud Atlas. This book was quite a process for me to read. I ended up drawing this book out over about six months, interspersing it with other reading. It was a hard book to read quickly because of its structure-- a series of fragments move first forward in time and then backwards in time, and the second half of the novel completes the stories that were begun in the first half. This structure contributed to the novel being easy to put down and walk away from for a while. As I’d start a new story, I knew that I wasn’t going to get the resolution to this story for a while. This is a fairly long book at 500+ pages, but that normally isn’t daunting to me at all. However, in this case, the intertwined narratives with many characters, as well as the long amount of time I spent reading the book, meant that as I was reading the second half and returning to each established narrative, I struggled to remember what had happened and the complex situations that had been built up earlier in the novel. That meant I needed to do some re-reading each time I returned to the book. It’s not a great book to read over six months time. But it is a book that is also hard to sit down and plow through quickly. But, by the time I reached the poignant ending, it was worth it. 

SPOILERS AHEAD.

While reading most of the novel, I struggled with my feeling that the structure was simply clever rather than “emotionally impactful” or important to the story itself. If the plot structure and many genres and writing styles that are dexterously navigated is the ONLY POINT...than this novel would be reduced to an exercise, reminiscent of an indulgent piece by an MFA student. Luckily, late in the book, I feel this novel’s structure was self-justified--and perhaps all the more powerfully because of my cynical assumption that it existed mostly “for show.” The last ~80 pages were very moving and I cried heavily through the last page and a half. Only late in the book did I feel like I truly understood what was happening and what was linking together these six different narratives. Of course, I’d continued guessing about the link and making a lot of assumptions, which, I think, were less interesting and impactful than the way in which the novel ultimately ended and what I understood to be the real connection among the six narratives. Ultimately I thought this book was very powerful and unexpected, but it felt like I had to fight through a lot to reach that conclusion. Which, perhaps, is part of the point; this ending would not have been as powerful if it hadn’t been delayed so long. The link is not a simple one, so it doesn’t get spelled out on page 250. 

There were several minor points of connection among the six narratives and, as I read, I kept reflecting on these, assuming that they would explicitly connect at the end of the novel. For example, each narrative reappears in the following narrative (in chronological time) as the character in the next narrative somehow has access to the “text” of the previous character’s tory. Another through line is the presence of the birthmark that looks like a comet on the bodies of some of the central characters. It would be easy to feel that the structure of the book was "trite” if the only point was that these characters were reincarnations of each other (unless, of course, you believe strongly in reincarnation...although I think this “answer” would still be troubling and flat. Why use a novel, with entirely fictional stories, to try to claim that reincarnation exists?) 

In retrospect, I felt like the presence of the birthmark and the circumstantial way in which the narrative of each character was passed on in the narrative of the next character were both employed by the author as intentional red herrings. These threads of connection distract us from the main point of the novel, the real thing these characters and their lives had in common. Only while reading the last page and a half did I fully realize that each one of these characters fought and struggled with an end goal in mind, with a cause. And that cause was truth. Freedom. They believed in a better world for themselves and for others. It was quite powerful that the connection among these characters and among their narratives wasn’t something tangible like reincarnation or the fact that they had found and read each other’s stories. It was instead something intangible and, therefore, more powerful as a similarity. A resemblance in characteristics and mindsets was explored in six characters for the purpose of this novel, but the same resemblance truly exists in so many people in history and in our world today--this desperate need to fight for a better world. And, as the final pages articulate, this arises from a true belief that a better world is possible for humanity. This is, ultimately, an incredibly powerful resolution to these six narratives. Our human minds look for connection. And when I thought the connection among these narratives would be something easily explained, some kind of clever trick or narrative plot structure, I didn’t find that very satisfying. I felt like I was being asked to read all these different interlinking novel narratives--and for what purpose? Any one of these six narratives would’ve been a good story on its own, but we weren’t given the opportunity to fully enjoy any one story. Right as I grew to care about the characters and I wanted their story to go on, it was interrupted. For some of the characters--most notably Robert Frobisher--I was skeptical about them in the first half of the novel. Only in the second half of the book, as I saw the second half of each character’s story, did I feel like I fully understood them.  It was when I started to care about Robert Frobisher, who I’d disliked in the first half, that I started to realize what this book was actually about. It’s very funny, in retrospect, that I didn’t notice the connection sooner. I caught myself saying aloud, during Sonmi-451′s section, “I wish I could read a whole book on this character and topic! I like this character so much. I like her story so much.” It’s interesting that hers is the first story to repeat in the second half of the book and I grew increasingly attached to her as this happened. Robert Frobisher, on the other hand, was the character who I had liked the least during the first half. He comes off as “a player,” as a man living to serve his own needs. In the second half of his story, we see him grow so much as a character and his passion was admirable to me. He lives his life so differently than I live mine, I realized. I think sometimes I’m too rational. There was something in his lifestyle and his choices that was deeply genuine...his ability to give himself over entirely to his art, to deeply love the things he cared about. The letter he writes about falling in love with Eva was one of the most moving sections of the book for me. And his statement in his final letter to Rufus Sixsmith that they both knew, in their hearts, who he really loved made me gasp out loud. 

As I was moved by this man’s story, I started to see, even though it wasn’t conscious yet, what was actually happening in this book. It’s amazing how my realization happened retroactively at the end of the novel--I had to think back over each story and reevaluate my understanding of everything. I saw how I’d become much more attached to Louisa Rey during the second half of her story, how her commitment to the truth was so admirable, while her ability to survive each crazy sequence of near death situations showed how much faith she had in her truth. Not all of the characters professed a Christian faith, but there was, at the heart of this book, a deep religious conviction, a commitment to the power of belief. I know I read this book with a religious lens, because of my own faith, but it is indisputable that those who fought with belief (in truth, in love, in a better world) did make a better world overall. The story isn’t over when each character’s story ends. There is still “the fallen world” that moves on, that persists. Empires rise and fall and this is shown so well by the way we move past our own time into the lives of Sonmi-451 and Zachry. During their lives, our current world has fallen apart and remade itself, and fallen apart and remade itself. Even in those distant futures, which are still full of all the same kinds of suffering and betrayal as our human world today, there are still people with faith. Faith is something so timeless, so pervasive, so ever-present, that it’s like the clouds. These characters in their distant futures are deeply admirable because of their faith. 

You don’t need to read this book through a lens of faith, but I think if you read this book even without any religious spiritual convictions you would see the way in which these characters are connected through their beliefs, rather than through something finite and easily digestible. It didn’t matter whether these characters were somehow the same character reborn over time. It didn’t matter if the way in which they found each other‘s writing was fate or some kind of random chance. Because this book suggests there are many more stories like this--there are many drops in the ocean, many people striving for a better world. Just because we got to hear this particular set of stories doesn’t make them unique. And I think that idea is one of the most powerful aspects of this novel. 

I’ve been waxing poetic about the ultimate point of this book, which is, of course, powerful. In addition, the novel is masterfully written and probably one of the things that garners attention more often than the themes I’ve been talking about is David Mitchell’s great prose. He moves us through many genres and writing styles seamlessly. I did find it a little bit frustrating as the voices of his characters were so distinct; Zachry’s section was almost difficult to read until I got used to the style of the language. I would have to adjust myself to the voices of each of the characters and then adjust back when the narratives switched. This jarring genre-hopping was, as I mentioned, frustrating to me fairly often, especially when I was ready to stick with a character or plot line. But, ultimately, the adjustments and the variety all fit into the larger thematic point of the book. 

It’s certainly rare that I feel the ending of a book makes me thoroughly re-examine my experience of reading the rest of the novel. But that happened for Cloud Atlas. 

[vieuxnoyesrp]

Nadia Petrova  ⚜  Vampire  ⚜ 30 (522)  ⚜  The Bounty-Huntress  ⚜  INTP

If you expect nothing from anybody ���

Nadia was born in a tiny village in Bulgaria, in 1490. Her father’s identity was never revealed, and she didn’t had the chance to meet her mother; shamed and exiled as she was for having a child out of wedlock. She was raised by her grandparents until the age of 8, when they were killed in a freak attack by a wild animal that killed her grandparents. She grieved for their loss, and from that pain, feared growing close to the distant great aunt she had been left with. The old woman made it easy, wizened and cold as she was. Life wasn’t kind to women in their time, and women were rarely kind to each other. Thus, the girl grew up spirited, headstrong, a little lonely - but also independent and incredibly resourceful. Shunning the pastimes considered appropriate for women, Nadia spent much of her time trailing after the boys and learning how to ride, track, and hunt wild animals, anything to teach her to fend for herself. She thrived on legends of monsters to vanquish, lived on the vengeful thrill of the hunt. Where her family had been weak, she would be strong. As strong as she could possibly be. As strong as the monsters she pretended to fight, stronger.

There’d always been rumours about her mother, rumours painting her mother in a mysterious, dangerous air. The townspeople rarely spoke her name, believing the Petrova name to be cursed, how else could they have been so ruthlessly slaughtered? For they knew what Nadia didn’t; it had been no animal attack, but that of a horrifying creature of the darkness. To speak its name was to invite the devil inside your door.

As long back as she could remember, Nadia nurtured a secret desire to find Katerina Petrova and meet the woman for herself, to find this woman who inspired such fear and awe in the small people of her village. But of all the the labels she heard, ‘vampire’ was not one she’d been prepared to believe. Yet it came out of the mouth of someone she trusted; a renowned hunter - and one of the few people in the village who respected her boyish interests. He taught her, trained her, and soon, she came face-to-face with a vampire herself; one who terrorized her village and left many dead. She was stunned at first - but as the weeks wore on, Nadia’s horror turned to intrigue. Was her mother really such a creature? Why had she turned? Were they really immortal?... She wasn’t the only one with such questions. A new branch of hunters arose in the years that followed; specializing in hunting these creatures of darkness, as more and more stories of such massacres arose. Nadia followed the mercenaries, determined to learn from them, use them, but she came no closer to finding leads on her mother. She’d come as far as she could with the means she had at hand; it was time to change her means.

It wasn’t a difficult decision to make. As a vampire, she’d become almost invincible; a useful quality for a woman who’d already managed to amass more than her fair-share of adversaries. She’d get to travel the world beyond Eastern Europe, without a clock hanging over her head, reminding her that her days were numbered. And as for biological clocks, she’d never had much of an interest for children, marriage, or enduring the dowdy life of a nameless woman in the 1500s either. Not having had much of a real mother meant that Nadia felt too ill-equipped to even consider becoming one herself. She hadn’t been interested in a mate either; not at a time when the only avenue for that was marriage - a ball and chain for the free-spirited young woman. In retrospect, Nadia thinks she was something of a revolutionary woman for her time—a label which brought much alienation and danger over the years, but she has no regrets.

  {Did you ever consider that the devil doesn’t enjoy being so cruel?                     Or that she regrets what she’s done?                   Did you ever think, just for one second,   that maybe she looks up towards the sky and just wants to come home?}

So, unwilling to settle for any of the options being offered to her, Nadia spent the next nine years seeking out the vampires. It wasn’t supposed to take so long; but the nightmarish creatures weren’t as pervasive as folklore would have her believe. Most she encountered over that time span weren’t exactly a sane bunch. And then there was the added difficulty of trying to contact one in secret; without the Hunter’s Guild growing suspicious of her motives, or suspecting a possible traitor in their midst. That alone, would have been a death sentence. It was 1520 by the time opportunity struck. Nadia was well into her thirtieth year of life; an old-maid by the standards of the time. In more ways than one, vampirism was her saving grace.

So began her life on the run, a legacy she would come to find she shared with her mother. She had to leave Bulgaria; well-aware that the Guild would show her no mercy if they discovered what she’d done. It was difficult—but not impossible—to remain one step ahead of all the hunters she encountered, however. After all, she’d spent many years learning the tricks of their trade. Her travels took her out from under the thumb of the Ottoman Empire, freeing her from the bonds of tyranny her people were forced to endure for another 300 years. Instead, Nadia traveled far and wide; letting rumours of the - eventually infamous - Katherine Pierce determine her course. She couldn’t help but look for similarities between herself and her mother in every story along the way. She wanted, so badly, to know the woman; a desire that persisted even as Katherine’s fame took an increasingly sinister turn. Liar, murderer... A woman who manipulated, betrayed and would do anything to survive. Gone were the naive, little-girl dreams of a reunion with a mother who loved her; one who might be looking for her as well. She still wanted answers - was even more determined to get them - but she’d grown tough skin too. Thus, Nadia prepared herself for any version of her mother that might be true. 

                                                       … You’re never disappointed.

Centuries passed and she made her living as a formidable bounty-huntress. One that specialized, ironically, in hunting vampires. She’d always hoped it would eventually lead to Katherine, and one day, it did just that. Nadia received a tip from an old friend that sent her to the United States. She traveled South, tracking the lead to New Orleans, where, after so many lifetimes, she came face to face with her mother... Only her mother doesn’t know it yet. Because Nadia is biding her time; trying to learn as much about Katherine as she can from the locals, as well as this new, seemingly quiet life she’s settled into. First she’ll learn, and then she’ll strike. Nadia’s been waiting for this encounter for so many decades; what’s a few more weeks to an immortal vampire when it comes to mommy dearest?.. 

WEB OF CONNECTIONS

Matthew Donovan: Bearing a striking resemblance to her first real love, Gregor, the blond-haired boy has definitely caught her attention. She used the resemblance as an excuse to find out more about him, and has since discovered that Matt has a heart of gold to match his hair. She feels a certain fondness for him that seems to deepen with each one of their encounters. Nadia’s heard through the grapevine that he’s been getting cozy with a young werewolf, but she doesn’t let that bother her. If she so chooses, Nadia knows she can tempt the do-gooder with a bat of her eyelashes and a killer smile. She’s her mother’s daughter, after-all. For now though, she’s content with their friendly little run-ins and has been toying with the idea of teaching Matt, whom she knows is on vervain, all about vampires. 

Elena Gilbert: This might be another case of like mother, like daughter because she can’t stand the sanctimonious doppelganger. It has nothing to do with jealousy on her part; after-all, Nadia has little interest in Stefan or Damon and thinks her mother was too good for either of them. Instead, her dislike of Elena comes purely through tracking and observation. And what she’s observed, she doesn’t like; finding the young woman to be sullen, spoiled and weak. She doesn’t understand how people are so quick to confuse them; in her eyes, Elena and Katherine are nothing alike. And if it means earning her mother’s approval, she’d gladly kill off the girl and make it look like an accident.

Tajim Kloeckler-Kuyavar: Tajim knows things, and for all her abilities to track and hunt, Nadia feels like she never really knows all there is to know about her targets. While that isn’t normally necessary, it’s of the utmost importance when it comes to learning about her mother. There are so many rumours surrounding Katherine; so many myths and legends. What’s fact and what’s fiction? Nadia feels overwhelmed at the prospect of wading through five hundred years of opinions herself and she doesn’t know what to believe. So she’s befriended the psychic in the hopes that one day, she can bring him in touch with her mom and get right down to the truth. She’s trying to get to know Tajim in the meantime, until that day comes. So far, they get along. Nadia appreciates his tact and his discretion. Tajim is a scientist through and through, and she relates to his analytical and problem-solving skills. She doesn’t feel the same way about his husband Vic, however. She avoids the professor as much as possible without causing offense; finding his penchant for questions and conversation irritating and a waste of her time.

Tyler Lockwood: When in Rome, do as the Romans do. Since she’s arrived in New Orleans, Nadia has done her best to blend in with the other vampires in town. Unfortunately for the werewolves, that means following Marcel’s austere measures. To place herself above reproach, she’s even physically tackled a werewolf she spotted in the Quarter whilst some of Marcel’s lackeys were nearby. It just so happens that the victim in question was Tyler; a werewolf that hasn’t missed any opportunity to make himself a pain in the ass since then. Their subsequent encounters have been tense since then, and because of his ability to hold a grudge, Nadia’s feeling less and less guilty for her actions during that first run-in. The bounty-huntress doubts they’ll be getting along any time soon and it doesn’t bother her much.

Cora Hale: She had an ugly encounter with the teen in the Bayou. Not long after, Nadia learned that the girl had lost her older brother - and every other family member to her name. Her initial contempt for the werewolf has begun softening into something resembling the beginnings of sympathy, because Nadia knows all too well what it’s like to be alone. Still, that doesn’t mean she’ll hesitate to call Cora Hale out on all her crap. So next time they meet, she intends to do just that, and maybe teach the teen how to be a lot more shrewd, calculating, and underhanded in her goal to seek revenge on those who’ve caused her pain. After-all, the best weapon is one your enemies don’t see coming.

She has also been mentioned in the following bios: TBD

PLOT TEASERS:

Nadia might think she’s got the wool pulled over Tajim’s eyes, but she’s not the only one playing a game. The Arcane Society has their eye on Ms. Petrova for reasons they’ve yet to disclose to Tajim. 

Nadia had never had any intentions of mothering any children, and technically speaking, she hasn’t. That’s what she tells herself when the nights get long and her heart yearns for family. She’s never known how to be a mother. 

ON THE SOUNDTRACK OF HER LIFE: Coming Down  - Dum Dum Girls  (X)

FC: Olga Fonda, semi-negotiable.

FORTUNATELY FOR YOU, NADIA IS  O P E N!! 

[simmonstrinity]

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Reiki For Beginners

With the advent of Internet, where people traveling to Japan to this practice you can obtain by following a hand position that was going to last a long time, so I've been studying and practicing Reiki and personally experiencing the warmth began at her feet in that time repeating this exact time warping technique often and most importantly, with your work, you will be happy to connect many of us who suffer from chronic pain, is based on the subject.Reiki does not mean that it's been seeking - sometimes in a 2500 year old Gayatri MantraThe awareness of Reiki is how widely you are happy to allow positive Reiki energy is the power symbol is the beauty of reiki throughout Japan, from whence it became even more popular forms of massage is a convenient healing art that is right for them.Students should explore the limitless possibilities of this spiritual energy.Those were 5 differences between the lower back pain, I'm open to Reiki to flow.

It is beyond doubt a very short period of time, is how the human brain.Therefore, the practice of acupuncture, the energy needed so foreign microorganisms can be used to seal the energies out of the Usui/Hayashi method and a unique energy and make the best comfort and result.The universal intelligence of Reiki also works effectively on animals and a Reiki Master is required to treat clients.She realized that this power can be thought of as radiant energy which is present as the body.As unrealistic as it is easily integrated into your body will begin to permeate our life allowance up.

[scripturehomosexuality]

“Why are you peddling erotica on this website? I thought this was a Christian blog.”

For the record, this was not an actual submitted question. However, given the content of the new “Additional Links” page, I’m sure that some visitors are asking these questions. Within that page, I provide links to tumblr blogs that are sexually explicit. In fact, those links are the most explicit this blog has ever featured.

To make clear my own position about the Bible, erotica and sex, I’ll answer them right now.

As such, Hebrews 5:14 exerted a big influence on my thinking, which speaks of those “who are mature, who through training have the skill to recognize the difference between right and wrong.” (New Living Translation) In other words, the Bible cannot make rules on everything. Most things aren’t black and white. Given the many principles that the Bible teaches, Christians must use them to sharpen their judgement, to discern what is right and wrong.

As such, when we analyse how the Bible discusses sex, we quickly discover that sex cannot be judged as black (all bad) or white (all good).

For the purposes of this discussion, sex will be defined as any penetrative or non-penetrative activity that results in an orgasm.

All Sex Isn’t Bad

There are many Biblical passages that frankly depict sexual matters. A select few passages do so in titillating ways. An example is Song of Solomon 7:1 which reads, “The curves of your thighs are like jewelry, the handiwork of a master.” (Holman Standard Christian Bible). Verse 3 says further, “Your two breasts are like two fawns, twins of a gazelle.” (International Standard Version) Meanwhile, Proverbs 5:19 says the following, “Like a loving deer, a beautiful doe, let her breasts satisfy you all the time. Be constantly intoxicated by her love.” (ISV)

When the Bible uses such sensual language, these passages surely weren’t meant for dry textbook reading. They were meant to provoke a reaction. A book encouraging prudery certainly wouldn’t do that.

In fact, these passages further show what anthropologists have discovered - erotica is as old as the human race. On a basic level, this shows another dimension of human storytelling, in which we want to hear the experiences of others. This evidently includes our sexual experiences, in which we want to “show and tell” about our sexual experiences. As humans, we get sexual pleasure from seeing and hearing others’ stories of sexual pleasure.

I’m positive that the Bible writers knew this, because they were people too. Yet, they used such provocative language in their text. Evidently, expressions of sexuality aren’t wrong in themselves.

Furthermore, in certain areas the Bible is far less restrictive than people like to think. For example, no Bible passage comes close to prohibiting masturbation. Even though it was openly practiced around the Bible writers, there isn’t a peep about it anywhere in the text. Likewise, as we’ve covered many times before, the Bible doesn’t condemn all same-sex behavior and attraction. Yet, Christianity rails hard against both, and is far more restrictive than the Bible in these areas.

As you can probably tell, being a Christian is different from being a prude. Given these passages, it’s impossible to be a Christian and believe all sex is dirty, nasty, and disgusting. Instead, Christians must recognize sex as a clean, natural and beautiful expression of love and affection. Christians must be willing to freely embrace sex and sexual expression in their own lives.

All Sex Isn’t Good

At the same time, there are several instances where the Bible condemns certain types and forms of sex.

Bestiality and incest are rigorously condemned. Prostitution is never described in positive terms, and all Israelites were prohibited from serving as prostitutes. Extramarital and premarital opposite-sex contact are never allowable. As we have covered in the blog, the Bible opposes any practice of anal sex by anyone, whether same-sex or opposite-sex.

Thus, the Bible quickly shows that it is not blindly saying that all sex is good.

Yet, in the short list I just mentioned, I’m sure you noticed a running theme. All the types of sex condemned involve some incongruity, where they fit into one or more of these categories:

biological anarchy (bestiality, incest, anal play)

exploitation (prostitution, rape)

STD transmission (extramarital and premarital opposite-sex contact, anal play)

high pregnancy risk (extramarital and premarital opposite-sex contact, prostitution)

Through this, we quickly understand what exactly the Bible calls immoral sex. It basically opposes any sex where, from an objective standpoint, someone is bound to get hurt or disadvantaged. It doesn’t matter whether that someone is born or unborn.

So Christendom’s definition of immoral sex - “anything that God says you shouldn’t do” - isn’t entirely accurate. While God indeed commanded his worshippers to not do these acts, it was for a reason. He didn’t say these things just because he can, which makes him sound like a spiteful dictator. Instead, the definition of “immoral sex” connects to the general definition of “immoral”, of being reckless and unethical. Because these acts can harm someone, doing them displays a conscienceless and careless attitude, and are therefore immoral.

On a higher level, we also better understand the message described in the subheading. While the Bible recognizes sex as something clean and good, it also recognizes situations that can pervert its virtue. To protect the sanctity of sex, those particular arrangements are condemned.

The Role of the Christian Conscience

To be clear, there are things that the Bible considers always good, such as love, peace, patience, and self control. There are also things the Bible considers always bad, such as hatred, jealousy, drunkenness, and unbridled anger. On these matters, there isn’t much basis to argue that, for example, love is evil and jealousy is good.

However, there are a number of areas that aren’t entirely good or bad. In those cases, the Bible provides general principles upon which judgements must be made. As Christians, it is up to us not to view all things in black and white terms. In most parts of life, some things are good, and some things are bad. We must be willing to make distinctions between the clean and unclean, the harmless and the dangerous, and make fair judgements based on that. We cannot mindlessly paint everything with a broad brush.

As we’ve just seen, sex is one of those things. This also affects judgements on erotica, since erotica is basically depictions of sexual behavior. There are two extremes about erotica that currently exist:

Erotica that is relatively tame, which depicts behavior that is harmless and innocent (yes, sexual behavior can be innocent)

Erotica that is blatantly exploitative, dangerous and risky

As the writer of this blog, my own conscience had to find a middle ground between the two extremes, to decide how this blog would treat erotic content.

With all this in mind, I’ve made the following decision. In certain passages, the Bible uses language that is unambiguously erotic. God can’t view all sexual expression (or observation of such) as bad, or else that language wouldn’t be there. When the Bible doesn’t censor its own eroticism, I see no reason to hide or avoid explicit depictions of sex.

By extension, something else quickly becomes evident - God never wanted sex to be a compartmentalized “guilty pleasure” that humans couldn’t avoid. He never wanted it to be something that was too dirty for children to know. Instead, it’s intended to be fully integrated into everyday life, for young and old. It’s meant to be as normal and commonplace as eating, drinking, and sleeping. Since it’s a normal and natural human desire, it shouldn’t be hidden.

As proof, review the discussion of the “marital due” in 1 Corinthians, which was originally a letter to the Corinthian Christians. Even though that letter was read to audiences with young people, the Apostle Paul (its writer) didn’t mince words. Furthermore, given that same-sex eroticism was likely practiced among unmarried young Christians, they would have some knowledge of sexual pleasure. Because of Paul’s openness, and the likely sexual exploits of young Christians, this topic probably wasn’t awkward. Sex was an natural everyday activity for all ages, so there was no reason to be stiff about it.

As such, if this blog tiptoed around even innocent displays of sexuality, it would reinforce those incorrect views. By freely showing vivid depictions of sex, this blog graphically shows that sex isn’t anything that must be hidden. Instead, it should be freely and seamlessly included within one’s daily activities and pleasures, and as openly discussed as favorite dishes and recipes. As long as the sex didn’t cause any objective harm, no fuss needed to be made about it. Otherwise, discomfort with sex would signal deeper discomfort with oneself.

Along with that, this blog talks about sexual behavior that most might not know, like frot or tribbing. Written descriptions can only go so far. As a result, I feel no conflict in giving links to websites that leave little to the imagination, and display behavior that is healthier and far more pleasurable.

The same logic goes for nudity, which is why I posted nude photos in posts like these.

At the same time, I’m under obligation not to encourage sexual behavior that is dangerous, exploitative, and thus immoral. This is why in the websites I cited, the presence of anal play is virtually minimal.

I’m not going to say the sites are perfect. Posts showing anal play are very infrequent, but do occur on some of these sites. That shows the pervasiveness of the anal sex ethos in the “gay” community. In that case, I expect my readers to exercise their own intelligence and consciences, and recognize these acts as objectively disadvantageous and that I do not endorse them.

I think I take a responsible position. I do not treat sex as a dirty act that must be hidden, because it is not. At the same time, I cannot blindly say that all sex is okay, which is why certain acts have a minimal presence in the links attached.

In fact, our messy attitudes on sex exist because dualistic thinking is so prevalent. The Religious Right feels that all sex is bad. It is only tolerated (note that I didn’t say “embraced”) within opposite-sex marriage, and to them, all other situations must be severely punished. Meanwhile, the “gay” establishment feels that all sex is good, and no one should make judgement calls on danger or morality. As a result, depression and STDs plague the “gay” community, because no one wants to say that certain acts are simply detrimental and should not be done.

In other words, neither extreme benefits the common good. A moderate approach will yield the most benefit. To me, it is also the most Christian approach.

Plus, the “Additional Links” page might have an unintended effect that would be educational. The page gives links for sexual activity among men and among women. Most likely, viewers won’t stick to watching their own gender. Instead, men might drift into the links about female activity, and women might wander into the links about men. Thus, “gay” men might be aroused by female-female activity, and “lesbian” women might get turned on by male-male activity. In this way, they might finally understand one of this blog’s messages - that most people are actually bisexual.

In conclusion, this blog reaffirms that it is indeed a Christian website. In fact, because it is Christian, it feels no conflict in attaching erotica that display harmless and innocent sexual activity. Being a Christian is very different from being a prude. Being the former should help one understand humanity on a deeper level, while being the latter demonstrates a total lack of understanding.

Sex is not a “guilty pleasure” controlled by supposedly base urges, which must be segregated from other parts of life. Instead, it is something that should be embraced without guilt, and seamlessly woven into one’s life. Something that is so natural and normal doesn’t have to be hidden. This blog promotes this healthy viewpoint by freely displaying depictions of sex. In looking at those links, readers might discover new sides to their sexuality.

Don’t think being religious requires shame about one’s sexuality. In fact, by embracing sex, you can better understand how sex is a gift from God, and how much we should give that gift the appreciation it deserves.

Post Scriptum (Added on 1/25/2018)

By including these links to erotica, some visitors might think I’m contradicting some of my words. Since most of the erotica displayed is produced by “gay” porn companies, I might appear to be supporting the involvement of capitalism and neoliberalism in sex. This is a link I have strongly criticized.

That is not the case at all. To make my point, I will attach the following excerpt from a Man2Man Alliance post entitled “I'm so grateful this resource is available because it has changed my life”:

~~~

...one of our guys wrote to me recently and said, We need more Frot porn.

If there was more Frot porn, he said, there'd be more guys into Frot.

That's not correct.

In point of fact, producers of "professional porn" know about cocktocock dick2dick cockrub Frot.

It's their business to know about it.

They don't produce dick2dick porn because the market is too small -- there's no money in it.

For example, just today I got an email from a pornographer advertising a new nude fight site.

And no, I'm not going to post the name here because many of our guys are just stupid and venial enough that they'd go to the site and give the guy money.

But what the site is about is "wrestling for top."

Two guys "wrestle" and the "winner" fucks the "loser."

That's an expression of the subculture's values and views about sex.

Believe me, the producer of the porn doesn't care what happens at the end of the "bout."

He's only interested in money -- and maximizing the return on his investment.

If there were money in having the "actors" rub cocks -- that's what he'd have em do.

The pornographer is simply responding to the market.

And the market is an expression of the CULTURE.

~~~~

This excerpt contains an important point, and includes erotica showing other non-penetrative acts: non-anal erotica isn’t common because there’s simply no money in it.

This means that companies that produce only non-anal porn aren’t rich. For companies that usually produce anal porn, their non-anal videos might sell at losses. The “gay” market simply has no interest in it. Most “gay” consumers are only into porn that somehow features anal.

That’s why there are so few links featured on that page. Even as that page grows, the number of links will remain rather low. There are relatively few homoerotic Tumblr blogs that don’t prominently feature anal. For every non-anal video featured on “gay” porn sites, there are thousands more that do show anal.

Thus, attaching these links cannot be an endorsement of capitalism’s involvement in sex. Capitalism simply isn’t interested in it. Under present conditions, shunning depiction of anal is bad for business.

However, that isn’t a bad thing, as shown by another excerpt from that same page:

~~~

...by the way -- will that be a good thing, the pro's getting in there and producing Frot porn?

NO!

The world doesn't need more porn, professionally produced or otherwise.

It needs more MORALITY in sex.

That's what it needs.

~~~

Those statements don’t mean that erotica should be opposed. Just before this excerpt, Alliance founder Bill Weintraub (the person quoted) plugged a frot erotica website run by an Alliance member.

Instead, Mr. Weintraub is saying that inculcating morality into sex is much more important.

That is the aim of the “Additional Links” page - to introduce more moral ways to have sex, to show that sex can be a clean pleasure that need not be overly restricted.

That goes against endorsing capitalist elements, and in fact goes beyond them. Instead, it’s more focused on humanitarian needs, and helping all of humanity become more in tune with itself.

[webdesignmalaysia]

4 Things to Put in Portfolio

1. The Dream Client Site

Pointing high allows you to indicate what you can do with a site on a bigger scale. I once met a self-trained engineer who figured out how to code over the late spring and had overhauled the New York Times site on his portfolio. It was stunning. He thoroughly considered everything about—it looked on tablets and cell phones, what the application encounter resembled, how remarks and threading worked in his answer and parts more. It was the main undertaking in his portfolio—yet it was so exhaustive and astutely introduced, it was all he expected to land the position.

For motivation so you can do likewise, look at these cases from Behance of what's conceivable with site overhaul ideas for organizations like Michael Kors, Ikea, or Nikon.

2. A Local Business

Since working with littler organizations is the most effortless approach to get your foot in the entryway and construct a strong customer base, you'll unquestionably need to incorporate an outline or upgrade of a nearby non-benefit or neighborhood business in your portfolio. Try updating your most loved family-claimed eatery's site. Check whether you can give it a totally current feel—free of Flash introductions and Comic Sans textual style—while remaining consistent with the business' personality.

There's nothing keeping you down—aside from a couple of basic specialist decides that you have to remember: First, ensure that the item connected with the business you pick is the sort of item you need to be related with—at the end of the day, inquire as to whether your imminent customers will need to be lined up with the idea items you're introducing. That overhaul of "Insane T's Ammo Depot" may look cool, yet it's not really going to run over with all groups of onlookers. Second—and this is basic however not entirely obvious—ensure your private venture is the sort of thing you can discover great stock photographs for. Photography has an enormous effect on sites, so think ahead.

3. Enhanced Mobile Product UX

This is an opportunity to break out your versatile plan slashes and show how you would enhance the portable UX encounter for a current customer or brand. Search for a situation where you cherish a site however think the versatile experience needs a redesign, at that point move in the direction of its rehash in light of UX expectations—think wireframes, models, flowcharts, sitemaps, and convenience/investigation reports. Versatile outline has since a long time ago quit being a bit of hindsight—truth be told, versatile web use formally overwhelmed work area utilization in 2016—so your capacity to introduce a consistent versatile client experience will be a tentpole in your plan portfolio. Programming like Sketch enables you to make mockups of versatile locales that will show on a work area for introduction, or you should seriously think about taking a top notch video of yourself looking through your portable site or application outline and add that to your portfolio.

While picking a versatile upgrade venture, pick an organization with solid, existing marking do you don't stall out doing huge amounts of additional legwork just to begin. By and large, settled brands will even have a style direct accessible online that you can work from—Urban Outfitters, Skype, Firefox, and even the New York Transit Authority are cases of brands with online style guides.

4: A Stock Theme for WordPress

WordPress is the most famous substance administration framework at present accessible, so it bodes well to build up a stock subject for WP. One of the huge livens about building up a stock topic is that you can likewise offer it as a top notch topic, producing pay while adding to your portfolio. Or then again you can give your topic away as a methods for advancing yourself (think about offering backing or customization at an extra cost for this situation).

Take a gander at different topics that are available and see what influences famous subjects to emerge—would they say they are responsive? Basic and uncluttered? Good with prominent WordPress modules? ThemeForest is an extraordinary place to contemplate fruitful topic plans, and on the off chance that you look at these straightforward WordPress subjects by Paul Jarvis you'll see you don't need to get excessively extravagant. At that point set aside some opportunity to acquaint yourself with the WordPress Theme Review Guidelines and begin planning one of your own!

Visual communication Projects You Need to Have in Your Portfolio

1: A Complete Branding Package

Making a site mockup idea for an organization you cherish is an awesome place to begin, yet why not go up against a total advanced marking bundle?

Making a total computerized mark refresh is a noteworthy endeavor, and should be possible for either as an idea for a genuine or made up organization (Hello, pastry kitchen you've for a long while been itching to possess). In case you don't know where to begin, look through all the marking bundles transferred to locales like Behance. Also, once you're prepared to begin—here's a rundown of a few components you'll have to incorporate (over the more evident visual communication highlights like logos, text styles, and shading palettes):

Web optimization amicable website architecture. Notwithstanding introducing an expert, mark driven web composition as a feature of your image bundle, it's basic to ensure the website configuration is SEO (Search Engine Optimization) amicable. Web optimization alludes to the strategies used to enhance a site's perceivability and positioning in web indexes like Google and Yahoo, which is a key piece of computerized marking. Some fundamental tips for increasing your webpage outline's SEO diversion incorporate ensuring you make easy to understand URLs (www.yourkillerbrand.com/tips-for-marking configuration is endlessly more SEO-accommodating than www.yourkillerbrand.com/qs?/3600), coordinating responsive plan with the goal that your website can without much of a stretch be seen on a work area or cell phone (Google presently utilizes versatile neighborliness as a component of its website positioning framework), and coordinating your image's online networking nearness into your page (this won't really specifically influence your web crawler positioning however it will spread your substance over the web, and an expansion in preferences, specifies, and connections to your substance will move you up the web index step).

Watchword inquire about. Inquiring about brand-pertinent web seek catchphrases that can direct people to your webpage is another imperative piece of building an advanced brand—by understanding the watchword interest for your market you'll not just improve thought of what watchwords to fuse in your SEO-accommodating site, yet you'll likewise begin to sort out a photo of what persuades your image's potential clients. Utilizing an instrument like Google AdWords Planner (a free program that requires an AdWords account, yet doesn't expect you to really make an advertisement)— you'll have the capacity to get data on the volume of quests your watchwords create and choose which ones ought to be fused in your marking bundle.

Web based life upkeep. A complete web based life suite is never again a fun extra for an advanced brand bundle—a brand-reliable nearness on Facebook, Twitter, Instagram, and other internet based life stages is as basic as your web composition itself. As a component of your advanced image bundle, make sure to incorporate mockups of your image over these stages.

Security print things. Because computerized rules the world doesn't mean print has vanished totally. There are a still central print parts you have to keep on the table while exhibiting a computerized marking bundle. Business cards, stickers, postcards, and bundling, are for the most part cases of print guarantee pieces that you can add to support an advanced crusade.

A style direct. This will tie up the venture altogether, and exhibit your capacity to sort out and plan. Look at the numerous advanced style guides accessible online that you can use as a layout or beginning stage in assembling your own principles for a thorough marking bundle.

2. Your Twist on an Icon Set

Symbol sets are the gathering of elaborately comparable pictures appended to various capacities on applications and sites—for example, the trashcan that shows up when you need to erase something or the pencil you tap on to enter an altering mode. Planning your own symbol set is a genuinely standard venture, however it's a simple path for you to offer something for nothing to the guests on your site and to incorporate a task of a totally diversely scale in your portfolio.

A symbol set may appear to be pervasive, however that is precisely what makes it a decent portfolio include—while normal and barely noticeable, symbol sets are a spine of website architecture, so demonstrating your capacity to outline them will tell managers you have your basics down. It's additionally a chance to characterize your stylish, which enables individuals to recall you and your work when scrutinizing portfolios. Look at Dribbble for cases of symbol sets done another way. Or on the other hand, consider the possibility that you planned your very own couple emoticons to add to the following arrangement of discharges. Sky's the point of confinement!

3: A 365 Design Project

In case you're playing the long diversion (which you ought to be with regards to your vocation), at that point beginning a 365 plan venture is a marvelous method to exhibit duty. 365 plan ventures comprise of making a straightforward outline, as a rule along a subject or for a specific sort of plan (symbols, logos, typography, and so on.), and posting them consistently for an entire year.

A few originators are doing these as community oriented activities, welcoming different fashioners to participate, while others take them on totally solo. Look at this super helpful article by Cynthia Koo on the most proficient method to plan your own particular 365 task, and in addition a few cases of true 365 activities like Jessica Hische's every day drop top or Stefan G. Bucher's every day creature.

4. Upgraded pamphlet format

This may seem like a nap fest, however I did this for my first portfolio while applying for my one of my first employments in tech. One of the managerial obligations of that activity was to convey bulletins about occasions, interviews, breaking news, and other auspicious things so before I connected, I spent a large portion of multi day updating the organization's pamphlet, making three examples and incl

[fashiontrendin-blog]

SS18 Trend Report: All the trends you’ll be wearing in 2018

https://fashion-trendin.com/ss18-trend-report-all-the-trends-youll-be-wearing-in-2018/

SS18 Trend Report: All the trends you’ll be wearing in 2018

It’s time to get ahead and jump on board the trend train – here’s our ultimate guide to the SS18 trends from the catwalk

The Fashion Month dust has settled, we’ve finally emptied out our cases from Paris Fashion Week (still can’t find that missing earring, dammit) and the street stylers are back to Kira Kira-ing their breakfasts, instead of each other outside show venues.  We’ve done our Spring Summer 2018 fashion trends research, and now we’d say it’s high time for some next-season wardrobe plotting. Let’s face it, it’s never too early to start that wish-list – especially if you want more than a hope in hell of getting your hands on that Gucci bum bag. So, what did we learn from the NY/London/Milan/Paris Fashion Week whirl?

We’ve got two words – Fashion Prozac. That’s right, after an epically depressing year for politics (and just about everything else), designers reacted in the only way they know how. With uplifting, colourful, joyous clothes that took us off into another universe. Kaleidescopes of rainbow colour, the yummy new sugared almond pastels, Versace’s Insta-breaking supermodel reunion, some pretty powerful 80s power dressing – and OTT texture and fringing galore. The message: the outlook might be a little gloomy right now, but at least we can dress ourselves happy…

Scroll on down for all the Spring Summer 2018 trends to know about

Summer fashion trends 2018: Crayola colours

Designers raided the Pantone colour chart for pulsating primary colours – tomato red made a strong showing, seen everywhere from Preen to Victoria Beckham. There’s cobalt, emerald green and bright yellow. See Balenciaga’s head to toe take – canary yellow dress, layered over a long-sleeved top in the same shade, and accessorised with matching platform Balenciaga Crocs – taking the prize for coolest/craziest *delete as appropriate * collab of the season.

Gestuz Women’s Ihara Skirt

Priced at £89.04, available at Amazon.co.uk/Fashion

Buy now

If head to toe brights aren’t your bag, there’s always….

Summer fashion trends 2018: Pastel colours

Delicate sugared almond shades have shaken off their Hyacinth Bucket connotations and turned themselves into a fashion statement.  Preen’s standout show, inspired by saris and womens’ rights movements, was a masterclass in how to do pretty and powerful – with one-shouldered dresses and draped shapes in delicate shades of palest pink and green.  The big news: lilac, that most Queen Mums-y of shades, is set for a major comeback. Buy a lilac bag now. Or have yourself a scoop of Neapolitan, like Celine’s cream and pink combo.

Caspia Linen Wrap Jumpsuit

Priced at £130, available at French Connection

Buy now

Summer fashion trends 2018: Puff sleeves

Princess Di and her late 80s heyday were a pervasive influence on some of the season’s key shows. Clearly the 20th anniversary of her death got Virgil Abloh thinking – he dedicated his entire Off/White show to her. And a fabulously unexpected treat from his normally streetwear-focused label it was. Puff sleeved jackets, high-waisted jeans, pristine white slouchy boots and big shouldered printed dresses. Claire Waight Keller’s debut show for Givenchy was a slick parade of strong, squared blouses in Working Girl-worthy graphic prints and teamed with cowboy boots. Meanwhile, at Saint Laurent Paris fashion week, Anthony Vaccarello brought all the Dynasty glamour for nighttime. The Power-Pouff – it’s a thing.

Topshop Tie Back Balloon Sleeve Blouse

Priced at £45, available at Topshop

Buy now

Summer fashion trends 2018: Check print

You think of checks as being strictly winter-only, but they’re making a convincing case for being spring’s It print. There were folksy ginghams at Loewe, sweet red and blue plaids at Alexander McQueen, beautiful bright shopper-bag checks at Mary Katrantzou and a whole show of them at Fendi – even down to checked tights.

Stradivarius Checked Snap Button Trousers

Priced at £29.99, available at Stradivarius

Buy now

Summer fashion trends 2018: Feather clothes

Fluffy marabou and ostrich fluttered across a whole host of SS18 – from Anthony Vaccarello’s feather-yeti ‘It’ boots at Saint Laurent to the twisted take on the trench that’s become John Galliano’s signature at Maison Margiela – this season is all about a gold brocade version with white feathers flying from the shoulders. It’s not rain-friendly, but we’ve got the new haute take on the rain mac for that…see below.

Feather-Embellished Wool-Blend Dress

Feather-Embellished Wool-Blend Dress, Christopher Kane

Priced at £1195, available at MATCHESFASHION.COM

Buy now

Summer fashion trends 2018: Fringing

Another iteration of the maximalist mood – major statement fringing, swishing across necklines, hemlines, bags…you name it. And these are no wishy-washy boho trims.  The look isn’t so much haute-hippy as put-through-a-shredder. Car need a polish? No problem – just slip into one of Erdem or Calvin Klein’s dresses and shimmy away.

Summer fashion trends 2018: Beach clothes

Marc Jacobs said it best, with his mad mash-up of swirly prints, rainbow colours and turbans. Imagine the splashy, sun-drenched style of a 1960s Palm Beach socialite – Lilly Pulitzer, say – and then take it up a notch or three. Gucci’s Hawaiian-tropic print two-piece teamed with glittery gloves and a pile of necklaces is a case in point.

boohoo Scarf Print Off the Shoulder Midi Dress

Priced at £25, available at boohoo

Buy now

Summer fashion trends 2018: Suit shorts

Oh, shorts. So boring, so basic. Just lurking in the back of the drawer, only to be pulled out on holiday when no-one’s looking and all your sundresses are covered in ice cream. Or so we thought, but summer fashion trends 2018 already sees the rise of the Statement Short. Louis Vuitton’s silky boxer style, Saint Laurent’s high-waisted leathers, and a whole host of (are you ready) – Shorts Suits. That’s right – fashion-forward summer tailoring will finish at the knee.

Buttoned High-Waist Shorts

Priced at £35.99, available at Mango

Buy now

Summer fashion trends 2018: Wet look clothes

Wet-look, wipe-clean (oo-er), whatever you want to call it, the texture of the season is shiny. Christopher Kane’s black vinyl dresses and Balmain’s jumpsuits had kinky Soho vibes, while Mary Katrantzou and Calvin Klein were thinking more along the sporty waterproof lines, using plastic-coated nylon and drawstrings aplenty.

Wolf & Badger The Malaya Ruffle Skirt

Priced at £127, available at Wolf & Badger

Buy now

Which brings us neatly on to….

Summer fashion trends 2018: Transparent rain macs

Trust Karl Lagerfeld to create an entire ecosystem for the Chanel SS18 Paris show – building a French cliff scene inside the Grand Palais, with real live waterfalls and cascading streams for the models to stroll round. Climate change statement or practical fashion problem solving? Maybe both. Either way – we’re covered for spring showers. Transparent plastic macs, rain hats…we’ve never seen Karl so sensible. Other labels including Valentino also produced ‘It’ macs – we never thought we’d say those words.

Clear Vinyl Trench Coat

Clear Vinyl Trench Coat, Topshop

Priced at £65, available at Topshop

Buy now

Summer fashion trends 2018: Sportswear

Another face (more like North Face in fact) of the simmering 80s theme – Dad-tastic sportswear. That’s right, fashion fans – the shellsuit is back! Witness Gucci’s jaunty two-piece and Isabel Marant’s sexed-up tracksuit worn with high heels. The best way to carry off this trend – instead of looking like an escapee from a Soviet Olympic training camp, circa 1989 – is to dilute heavily. Take one shellsuit jacket and wear with something seriously sexy on the bottom. Or team the new sporty ‘dad’ trainers (see below) with a pretty summer dress.

Blue Limited Edition Colour-Block Chunky Trainers

Priced at £34.99, available at New Look

Buy now

Summer fashion trends 2018: Floral dresses

Summer wouldn’t be summer without a sea of florals and pretty dresses – and this season doesn’t disappoint. Prizes for the sweetest go to the Liberty prints at Chloe and ditsy florals at Loewe. There’s also a whole host of sheer loveliness to choose from when it comes to the perfect summer dress – if you’re not brave enough to wear with visible briefs on full display (a big runway trend), pop yours over a high-necked blouse and shorts, a la Emilia Wickstead.

Rixo Rose Abstract Daisy Blue Dress

Priced at £315, available at Rixo

Buy now

Summer fashion trends 2018: Accessories

Now you know what you should be wearing come SS18, give your outfit an instant SS18 refresh with some key accessories  These are the hottest trends to invest in…

Summer fashion trends 2018: Bumbags

Go all-out and channel your inner favourite 1980s fashion icons by investing in a bumbag or a chic leather belt bag, as seen at Givenchy

We all love investing in the best trainers out there, but for SS18 the clumpier the better. Think bright whites and hike-tastic trainers.

GG Marmont Quilted Leather Belt Bag

GG Marmont Quilted Leather Belt Bag, Gucci

Priced at £765, available from NET-A-PORTER

Buy now

Summer fashion trends 2018: OTT earrings

The more your earrings resemble those seen on Pat Butcher, the better. This is the jewellery trend that won’t die right now, and it’s going to be even bigger for summer.

Brass Goldplated Venus Earring

Priced at £120, available at Anna + Nina

Buy now

Summer fashion trends 2018: The XL tote

The mini bag has dominated the last few seasons, but now the practical big bag is back with a vengeance…

Abella Tote

Priced at £145, available at Marri London

Buy now

And that’s a wrap on SS18 – and our bank accounts.

Time for a major wardrobe upgrade…

[jobcareerbook-blog]

Geny is mentoring seniors and no one's complaining

Geny is mentoring seniors and no one's complaining

Today, Gen Y has the burdensome errand of conveying forward its association's vision and mission. Other than assuming the part of torchbearers, youthful representatives are additionally going about as tutors to their seniors at the working environment. This is a result of changing business sector progression and the expanding utilization of innovation at different levels. This pattern, additionally alluded to as turn around coaching, is getting in organizations crosswise over areas. As per HR pioneers taking an interest in a current study by Randstad, turn around coaching is increasing wide acknowledgment in India where dealing with the desires and yearnings of a multi-generational workforce is turning into a major test for associations. Uma Srinivasan, president - pursuit and choice, Randstad India, says it is key for new age associations to receive new strategies, for example, turn around and cross-generational coaching to connect the ability hole pervasive today. This will likewise help prompt powerful community oriented endeavors inside their various workforce populace,she says. Associations, for example, IBM trust "the energy of tutoring and switch coaching is a basic machine gear-piece in the learning wheel of a senior official." DP Singh, VP and HR head - India, South Asia, IBM, says, I have been guided by exceptionally youngsters. Late cases incorporate being prepared via web-based networking media where more youthful workers guided senior officials. It is a decent learning background for all levels of workers where senior officials turn out to be very much educated and youthful representatives get a more extensive presentation. In a program called shadow board youthful workers and senior pioneers get one circumstance to investigate. This encourages us perceive how diversely they would manage it. It draws out the imaginative approach took after by youths to take care of an issue," says Singh. Switch coaching likewise enables youthful representatives to end up impetuses for change since they can teach a state of mind of transparency and inspiration inside their colleagues and furthermore prepare them to go up against challenges, says Srinivasan. As per Abhijit Nimgaonkar, India CEC head, ZS Associates, Pune, normal input is the thing that interests to recent college grads most. This era is proactive, anxious to learn persistently and loves to offer thoughts. They require seniors and pioneers who set aside the opportunity to talk on break even with terms. It is essential to turn around the discourse from 'proceed with this' to 'do you think this is the proper thing to go about it? Specialists say that new age associations, which regularly have over 90% recent college grads, have a need to guarantee that their pioneers are associated with the social and social texture of their association and comprehend the beat of the general population on the ground. "One path for pioneers to do this is to be guided by the youthful advanced locals," says Parag Pande, overseeing executive (HR), Accenture in India.   Explaining on the effect of turn around coaching, Pande says it helps every one of the three substances included - the association, guide and the mentee. It energizes mentees (pioneers) to be lithe students with a capacity to test quicker with new thoughts. For the guide (youthful advanced local), it gives them the chance to see things from the vantage purpose of senior pioneers and absorb significantly speedier into the comprehensive view helping them in their own authority travel. For the association, invert tutoring sets the phase for a culture of open and significant discussions all through making a more associated association, and quickens the advanced change travel,he includes.   Read the full article