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ranjanasacademy · 6 months ago

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Top Skills You Will Learn in a Cosmetology Course

Embarking on a cosmetology course is not only the first step towards a rewarding career in the beauty industry but also a journey of acquiring diverse skills that are essential for success. Whether you're passionate about hairstyling, makeup, skincare, or nail art, a comprehensive cosmetology course will equip you with the knowledge and expertise needed to excel. Here's a closer look at the top skills you will learn during your cosmetology training.

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1. Hair Cutting and Styling Techniques

One of the core components of any cosmetology course is mastering the art of hair cutting and styling. You'll learn various cutting techniques, from basic trims to complex layers and texturizing methods. In addition, you'll explore different styling techniques, including blow-drying, curling, straightening, and creating intricate updos. These skills are fundamental, as they enable you to cater to a wide range of client preferences and hair types.

2. Hair Coloring and Chemical Treatments

Understanding the science behind hair coloring and chemical treatments is crucial for any aspiring cosmetologist. During your course, you'll gain hands-on experience with various coloring techniques, such as balayage, ombre, highlights, and lowlights. You'll also learn how to perform chemical treatments like perms, relaxers, and keratin treatments, ensuring that you can transform your clients' hair while maintaining its health and integrity.

3. Skincare and Facials

A comprehensive cosmetology course will delve into the world of skincare, teaching you how to analyze skin types and conditions. You'll learn to perform facials, exfoliation, and other skincare treatments using professional products and equipment. Understanding the basics of dermatology and how to address common skin concerns, such as acne, aging, and hyperpigmentation, will make you a well-rounded beauty professional.

4. Makeup Application Techniques

Makeup artistry is a significant aspect of cosmetology, and you'll acquire skills to create various looks, from natural day makeup to glamorous evening styles. You'll learn about color theory, face shapes, and how to enhance features using different products and techniques. Additionally, you'll gain expertise in bridal and special event makeup, as well as mastering the latest trends in the industry.

5. Nail Care and Art

Nail care and artistry are essential skills in cosmetology. You'll learn to perform manicures and pedicures, understanding proper nail care, sanitation, and the use of various tools and products. Moreover, you'll explore nail art techniques, including painting, sculpting, and applying extensions, enabling you to create stunning nail designs that cater to your clients' tastes and preferences.

6. Sanitation and Safety Practices

Sanitation and safety are paramount in the cosmetology field. Your course will emphasize the importance of maintaining a clean and safe working environment to prevent the spread of infections and diseases. You'll learn about proper sterilization techniques for tools and equipment, as well as best practices for personal hygiene and client care. These skills are crucial for ensuring the health and safety of both you and your clients.

7. Client Consultation and Communication

Effective communication is key to building a successful cosmetology career. You'll develop skills in conducting thorough client consultations, understanding their needs and preferences, and providing professional advice. Learning how to communicate clearly and empathetically will help you build strong relationships with your clients, ensuring they leave satisfied and return for future services.

8. Business and Marketing Skills

Beyond technical skills, a well-rounded cosmetology course will also cover business and marketing essentials. You'll learn how to manage appointments, handle financial transactions, and maintain client records. Additionally, you'll gain insights into marketing strategies, such as social media promotion and branding, to help you attract and retain clients in a competitive market.

9. Problem-Solving and Creativity

Cosmetology is an art that requires creativity and problem-solving abilities. You'll encounter various challenges, such as color corrections or difficult hair textures, and you'll need to think on your feet to provide effective solutions. Cultivating your creativity will enable you to stay ahead of trends and continuously innovate, ensuring your clients always receive fresh and exciting services.

10. Continuous Learning and Adaptability

The beauty industry is ever-evolving, with new trends, techniques, and products emerging regularly. A successful cosmetologist must be committed to continuous learning and adaptability. Your course will teach you the importance of staying updated with industry advancements, attending workshops, and seeking out additional certifications to enhance your skill set.

Conclusion

A cosmetology course, including specialized Beauty Parlor course and Beautician courses, offers a comprehensive education that goes beyond basic beauty techniques. It equips you with a diverse range of skills, from technical expertise in hair, skin, and nails to essential business and communication abilities. By mastering these skills, you'll be well-prepared to embark on a successful and fulfilling career in the dynamic world of cosmetology. Whether you dream of working in a high-end salon, owning your own beauty business, or becoming a freelance makeup artist, the foundation you build during your cosmetology, Beauty Parlor, or Beautician training will set you on the path to achieving your goals.

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sonkitty · 8 months ago

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This list is way beyond a lot of me, but there are a few things I feel I've found and understand, so here is my take.

"Crowley's sunglasses. Could this be explained by POV switches? If so, why do they change halfway through and then stay that way?"

They cannot be explained by POV switches. Aziraphale "proposed" at the end of episode 2, that they borrow each other's homes to form a special connection. Crowley accepted despite his verbal and facial cues. It helps to watch how he manages his left hand to see how his response is a Yes. I'll go into it in my own series of posts when I can, but I'm not at that point just yet.

Crowley's sunglasses are his door to himself. He gave his door a new finish because it's a big step in their relationship to form this connection.

...

"Why does Micheal do the magician's "nothing in the box" display with the matchbox? It's a very specific action. Something's in that up with that damn matchbox. We're being asked to look at it, while something else happens that we're missing. And someone noticed that her nails are in terrible shape when she does it, but our eyes are on the matchbox."

That sequence is a clue to a hidden game in the story called Earthly Objects. It's a layered type of game the characters are playing. An audience member can play it by trying to figure out how the game works. The mechanics are heavily based on touching.

I suspect the Book of Life is actually disguised through the matchbox.

You can find me ramble on about these things in these posts:

Post #8 (finding out Gabriel is in the bookshop)

Post #10 (storming out)

I cover the matchbox touching sequence in the "storming out" part, the closing section.

...

"Crowley put something in Aziraphale's mouth during the kiss. I don't know what, but something he had to swallow. obligateweirdo pointed out that he seems to palm something out of his mouth when he touches his lips the second time, and that Houdini's wife used to slip him the keys to his cuffs with a kiss before his shows. Whatever Crowley gave Aziraphale, it's physical. And Michael Sheen has said he doesn't want to share what's in Aziraphale's pockets -- because Aziraphale put whatever Crowley gave him into a pocket?? Was it the fly? (But didn't that go into Gabriel's eye and stay there?) And if it was the fly, what was inside it?"

Pockets are a big deal in Earthly Objects. They are a really, really big deal. They are the more advanced mechanics within the game.

The game has a lot of findable, solvable puzzles, and a certain group that is very much meant to be found is 6 Threshold Tricks. Among those 6 is something called...The Pocket Trick...which is a giant pain due to a significant increase in difficulty scale. It impacts many things all over the place, including the other 5 Threshold Tricks.

I think the thing you found was a tie clasp of one of Crowley's ties, resized as necessary because it's too small to be just one as it is.

The tie strands are connected to the hands because they are Crowley's Tied Hands.

I wrote more about it here:

The Pocket Chain Rainbow Connection Part 4: The Door Trick and The Door Catch

...

"The rainbow lens flairs sure look like eyes. Like a pupil and iris. Is this a subtle hint that we are seeing through someone else's eyes?"

I don't know what parts you mean look like eyes, but rainbows are very much related to the pocket mechanics mentioned above. The Pocket Trick's core concept is, "Think outside the pocket," because a player has to use their imagination with word play.

Elvis Presley has a song titled, "A Pocketful of Rainbows." Each touch in The Pocket Trick has a "rainbow" to find. The Bigger Thresholds Trick, The Door Trick, and The Window Trick also have rainbows, all of which happen in episode 6. The Sunglasses Trick receives a reflection of white light, I assume, because it is beautifully layered.

There's a rainbow at the start of Crowley's first present day scene. There's a rainbow at the end of Crowley's last present day scene before the cut that is going to be used for the credits.

And there's a Rainbow Connection. I linked part of it earlier, but the more simplified post for the whole thing can be found here:

The Pocket Chain Rainbow Connection

My murder board

Updated 4/22/24

I'll add links as I can, but here's what I've got so far on the Good Omens season 2 puzzle/game. I feel it's important to note that I think we've been given all the puzzle pieces and a bunch of helpful hints besides.

The continuity errors:

Crowley's hair (POV thing)

Crowley's sideburns (POV)

The Bentley, "our car" but then it is Our Car in 1941 also -- WTF (There is a line in the book about someone being powerful enough to make something change and then make it so the change always was that way, but damned if I can recall the line or context now. Need to re-read AND re-watch! Found it! It's when Crowley first meets Adam after he's come into his powers -- he reads Crowley's mind and history like it's a book and this is the impression it leaves Crowley with. Adam's power is very similar to how the Book of Life is described in the show. Curiouser and curiouser!) (POV!)

Eccles cakes when Crowley leaves the shop, it's still morning, the continuity of time is messing with me. When they get the eccles cakes, it's light out. When Crowley leaves, it's dark out. He throws a lightning temper tantrum. He comes back after 9 by the clock in the shop. I still think it's not unreasonable to assume Aziraphale simply tidied away the eccles cakes in that time. Nina would have liked her plate back, after all. But all of this begs another question: 4a. Why is it around 11:30 when Aziraphale leaves Maggie's shop with the record and says he knows what he'll be doing for 21 minutes, but after 4 pm when Gabriel shows up? What happened for those 4+ hours? See 6. Clocks are wrong. Time is wrong!! (4.b the eccles cakes are prominent in at least one promo poster. Even if they don't disappear, do they mean something else??)

Portal rug it's a faded rug right up until the ball, when it becomes a thick red rug, then it's back to faded once the ball is tidied away. It just got made pretty for the ball, then changed back. The change is a nothingburger.

Clocks are wrong -- all over the damn place!!

Cross on Gabriel's statue -- appears to disappear. (POV)

Honolulu roast sign -- appears out of nowhere. (POV)

Title/location cards -- but there are some spots where the S1 title cards are used, what's going on there? (POV clues? -- this needs a closer look)

Drawing of Gabriel -- the one Aziraphale draws in the shop is NOT the one he shows the pub owner in Edinburgh. Why? (POV)

Wet roads/series poster -- what is up with all the rain??

Lights at Marguerites -- on again, off again. (POV? Or is it just when she's closed and open? It's a cafe, after all, they won't be open in the morning.)

Aziraphale's chair position in the Final Fifteen

1941 photo, Crowely's hand

Repeating extras -- not just repeating, but acting oddly -- walking back and forth, touching things, not eating, dressed the same every single day, etc. Do the people on the street in Edinburgh behave the same way?? (POV?)

Resurrectionist sign at the pub -- one with a scalpel, one with a butcher's knife. And it makes me think -- was Mr. Dalrymple a surgeon and a scientist with a scalpel, or a butcher with a cleaver? (POV. Wait, Aziraphale is the only MC there -- whose POVs would we be seeing?? Crowley's. He calls to tell Crowley what he found, what we're seeing is Crowley's idea of what happened.)

Store front signs -- appear and disappear. (POV)

Whickber street as seen from Heaven vs. on location -- the one Saraqael looks at in Heaven is the Google Maps picture of SoHo from 2019 with the book shop added in. It's not even from 2023! There is a building being torn down in it. In person on the show, it's different -- and the building is long gone in actual Google Maps 2023. (I think Saraqael is trying to hide the big miracle. She's showing the arc angels the book shop when it got reset by Adam in 2019.)

When Shax talks to Crowley and he takes off driving. When she appears, he is parked further up the street than when he leaves. Noticeably so. (POV? Or scenes out of order and this is a different time than it looks like?)

Edinburgh castle -- when Aziraphale arrives in Edinburgh, the castle is behind him. When the camera switches angles to behind him, Edinburgh castle is in front of him. The street he is on (streets, actually) are real streets. The castle was put in the first shot deliberately, but exists for real in the second shot. (POV)

Edinburgh streets -- when Aziraphale arrives in Edinburgh, the street he parks on is cobblestone. When the camera switches to behind him, the street is paved. (POV)

Weird sounds of all kinds?? (POV? Some of them yes.)

Crowley's sunglasses. Could this be explained by POV switches? If so, why do they change halfway through and then stay that way?

Questions about things the characters do:

Where did Crowley go during the Job flashback? And why was he wearing his spy turtleneck? (To meet up with Saraqael, perhaps? Seeing as Shax interrupted their meeting earlier that day?)

Where else did Aziraphale go in Edinburgh? And why did he go to the graveyard?

What did Gabriel need to bring to Aziraphale? What happened to it? (God's voice? A message from god? The Book of Life?)

Why does Micheal do the magician's "nothing in the box" display with the matchbox? It's a very specific action. Something's in that up with that damn matchbox. We're being asked to look at it, while something else happens that we're missing. And someone noticed that her nails are in terrible shape when she does it, but our eyes are on the matchbox.

What else did the Metatron say to Aziraphale? (Anything? Are we getting the whole, accurate story? Most of it? Any of it?)

How long was Crowley in Heaven, and what happened while he was there? (Did he sneak around and steal something? Did they harm him? He's acting a bit weird when he comes back.)

What happened to Aziraphale's briefcase? The one he took to Edinburgh. Where he did who knows what. (Is that a POV thing??)

What, if anything, is wrong with Crowley's memory? (Or is he just dissing Furfur and Saraqael?) (OR! Given the Gabriel removed HIS OWN MEMORY AND PUT IT IN THE FLY, so apparently angels ((AND demons??)) can affect their own memories, did Crowley deliberately do something to himself to get rid of unwanted memories??? He seems pretty untroubled by not remembering Furfur or Saraqael or why they made gravity -- almost as if he doesn't care the memories are gone. Okay, maybe he's gotten rid of some memories himself, but then WHY??) This could be a big old nothingburger. Or is he dissing Furfur and offering plausible deniability that he's met with Saraqael before -- like, when he was wearing his spy turtle neck??

What is Shax's mission? She says she's Crowley's replacement, but then she asks for "what she needs" from Crowley on the bench. Huh? What does she need?

How does Crowley know about hand washing in the Resurrectionists minisode? (This strikes different than the "lead ballon" remark on the wall. It's hard to say if Crowley knows about lead balloons, or if they're speaking an angelic language and it's being translated for us and the translator has a sense of humor or is trying to convey Crowley's sense of humor. The hand washing is actual, concrete, specific knowledge of the future.) Ah, I just re-read the book, where he mentions helicopters to DaVinci, and also Neil said this. It's something Crowley can do. He's a demon, he knows things.

What is going on with Maggie? I don't think she's a demon, but there is something up with her. (Also, one of the men in the graveyard in Edinburgh has a tattoo that says "no regerts." That's a real tattoo that circulates around the internet every once in a while -- I think it's a subtle reminder that humans aren't necessarily great at spelling, either.) But she has a Mason symbol on her necklace, and I still think the Masons are significant somehow; Aziraphale can't miracle-influence her; Aziraphale expects her to feel the arc angels arriving.

Why does Gabriel speak with god's voice? (Was that what he needed to bring? That message? But he says he needs to give Aziraphale something, and both times he speaks in god's voice, it's to Crowley. Hmm. IS that God's voice? It's a woman, but who is it?)

How did the pub owner recognize Gabriel's picture so fast? He says himself, "Look pal, I see a lot of people -- oh, yeah, I remember him!" ?? Was it just because Gabriel was weird at him?

Why is Crowley throwing books? It gives us a laugh, but is there a reason for it? He even seems confused as to why he's carrying them right before he does. (This is a POV thing -- the lens is "Aziraphale's" lens, so I think we're seeing Crowley tell Aziraphale what happened while Aziraphale was gone, and how Aziraphale imagines it would go.)

Why is Saraqael the only angel to react with fear before anyone else recognizes the Metatron? (Is it because she's been working WITH Gabriel, Beelzebub, AND Crowley and Aziraphale to thwart the second attempt at ending the world? Neil says he had some secret things for Sandalphon to do, but the actor wasn't available, so Saraqael does some of those things instead . . .)

Aziraphale gently laughs at Muriel's Inspector Constable persona, but then IMMEDIATELY adopts a just as over-the-top reporter persona. Is he doing it deliberately, or is he that un-self-aware? If he's doing it deliberately, why? Who's he trying to convince he's not that savvy? The pub owner? Anyone who might be spying? US?? Is that a POV thing? And if so, whose?? (AHA! I think this is Aziraphale telling Crowley what happened, and Crowley picturing Aziraphale being adorable in his disguise. Aziraphale is not that silly actually, but probably not as slick as he wants to think.)

Why the heck did Maggie and Nina go talk to Crowley while the Metatron was talking to Aziraphale? What they had to say wasn't important enough to leave Nina's shop during a rush, and I definitely don't think they derailed Crowley from what he needed to say to Aziraphale, though it might look at first as if they did. So what was that about?

When Shax stops Aziraphale for a ride, he says, "Oh, I really need to get to --" and then is cut off. He really needs to get to where? It's an easy assumption to think he means the book shop, or London. But is that all he means? Or was he on his way somewhere else? And if it was just the book shop, what does he mean he's late? Late for what? And that lens is still Crowley's lens -- Aziraphale is relating the story to Crowley. Crowley also knows where Aziraphale was going besides Edinburgh.

Crowley can tell something is wrong. Something. What?

Good God, this questions list just keeps getting longer. Why would the Metatron allow Beelzebub and Gabriel to leave, after trying to stop Armageddon 2.0, but come after Crowley and Aziraphale like that? Just because of the big miracle? (Which I'm not sure they did.)

Why does Crowley say "Oh, God," right before his confession in the final fifteen? To let Aziraphale know that he understands what Aziraphale is saying? That God (or the Voice) is there? Seems possible.

Why didn't Gabriel come down the lift in the Dirty Donkey? He also says he had to carry that box for sooo long. Where was he wandering around?

When Crowley leaves Heaven, he tells Saraqael and Muriel to come, too. But in the elevator, Michael and Uriel are there! When the fuck did they show up??

The whole time Aziraphale is in Maggie's shop asking about Every Day, he is looking out the windows and is VERY nervous. Is he just concerned about leaving Gabriel on his own, or is he nervous about something specific? He does react to the car horn outside as others have noted, but he is already jumpy and checking the windows repeatedly, the car horn isn't anything particular, he's just already fixated on the windows.

Why does Beelzebub tell Shax to attack the bookstore? Aren't they worried about Gabriel being harmed? And they know Hell is understaffed. Maybe that's why they command it? Because they know Shax won't be able to get the demons?

Questions about the world:

What about the Masons? It's such a specific thing for the pub owner to bring up, what is the meaning of it? And Maggie has a Mason symbol on her necklace. Did the Masons carve the statue of Gabriel? When did they see him?

The only narration we hear in the entire season is Aziraphale in the Resurrectionist flashback. Why? (Maybe to throw us off? I think we have multiple POV characters in season 2, not just Aziraphale, but we only hear Aziraphale so we assume he's the POV for the entire season. But still, why do we only hear him narrate 1 flashback? Argh, is he reading the diary to himself in the present day? That would explain the end, "And that was the last I was to see of Crowley for some time." If he is reading it in the present day, why? What made him think to go back to THAT entry?? Oh, duh! He JUST heard the story of the jukebox from Maggie. And Gabriel appearing -- same city that statue is in. Of course he thought of something important from that diary entry! Now, what did he notice?)

Is the Book of Life a real threat? We hear two stories about it, that it's real and that its ability to erase beings was something to scare the cherubs with, this is inconclusive. Crowley gets nervous after Beelzebub talks to him, but he could just be upset that their little break is interrupted, and now Heaven and Hell have taken an interest in them again.

Is reality fucked up? How? Whickber street bubble, Aziraphale's power turned up (how?), etc.? A LOT of it is POV shifts!

Job 41:19 on the matchbox: 1941?? YES. Bullet catch/kiss scene!

Where TF is God? "There was nothing for Her to do" my ass. She narrates. That's it. So there was nothing for her to narrate? Hm. (Because there was a host of other narrators? Are the Crowley/Aziraphale through the ages flashbacks in S1 narrated by God? I don't think they are, but I need to rewatch. They are not! And they aren't narrated by God because Crowely and Aziraphale are the POV characters in them.)

So many promo posters show Aziraphale, Crowley, and Jimbriel together, or symbols of them. Three feathers: two white, one black. Tea cup, cocoa mug, wine glass. The three of them. Not with Beelzebub, not with Muriel, the three of them. And all three of them have been Jesus-coded in some small way. No one else. Those three. What. Why. Are they the sacrifice required to bring about the new world? Why not Beez, then?

Wait. Two Crowleys?? WTF. There are two Crowley puppets in the magic shop, and Crowley doesn't remember Saraqael or Furfur. Is he dissing them, or is that the second Crowley that never did meet either of them? Am I insane? I have no theory here, just some wild speculation that needs a lot more time to simmer. Two actual Crowleys, or two ideas of Crowley? Or something to hurt my head?

Why are they in a cave in the opening sequence? The guy who made the opening sequence says they are in the fly that Gabriel stores his memory in. Okay, why? And Crowley lights a match to see. Hm. What else was in that fly that Gabriel didn't take when he got his memory out?

An album on the wall in Maggie's shop says "Rat Keith." This seems to me to be an allusion to The Amazing Maurice and His Educated Rodents, by Terry Pratchett. In the book, some men have tied several rats' tails together to create a rat king that keeps the wild rats under control -- except that the rat king has too much power and is doing way more than just that. People die. So who's been given too much power and is now running the show instead of being a puppet? The Metatron, perhaps? Hm . . . Also, Keith is the young boy who plays the part of the Pied Piper for Maurice's scam. He leads all the rats out of town, never mind that the rats can talk and are in on the scam.

Things I think I know:

NEIL GAIMAN IS A LYING LIAR WHO LIES. Except when he's dropping hints or answering straight out. All of his answers to anything anyone asks about GO are suspect at best. (I cannot blame him or anyone else on the cast or crew -- they spent A LOT of time and energy building this very meticulous puzzle game for us -- why would ANY of them give ANY of it away? That would ruin all the fun!)

God has been removed/has vacated. Where did she go? I wonder if anyone knows. Is She just standing back and watching? In the book, Crowley says that anyone who can create a whole universe in six days doesn't let a war of rebellion happen unless they want it to. But that he and Aziraphale wouldn't understand, because if they understood, they wouldn't be them. It's INEFFABLE. He also then FORGETS what he was talking about a minute later.

God doesn't narrate because She's busy being Maggie. Aha!

The Metatron is working for himself. The dice on his tie seem to imply that while God does not play dice with the universe, this jerk surely does. Also, see the rat king observation above, #10.

Gabriel was bringing Aziraphale a message, the box is a red herring. But that brings me to another thing I suspect -- there was something else in the box, and the box is deeply important. Ah, damn -- is that what Crowley gave to Aziraphale in the kiss? Whatever was in the box? Was that what he found out while he was in Heaven? What Gabriel took? Did Gabriel put it in the fly with his memory?

Heaven did something bad to Crowley while he was there. That coffee is a red herring to draw our eye away from him. But that brings me to something else I suspect -- Crowley's knackered and a bit off when he returns from his TEN HOUR JAUNT in Heaven not because they did anything bad to him, but because he stole something very important. Maybe the thing he gives to Aziraphale during the break up?

Crowley and Aziraphale did NOT perform a huge miracle. I don't know what happened, but it wasn't them working together. (Or did they? Are angels and demons more powerful together? Did the Fall create a schism between them that weakened them all? Or are they and Saraqael hiding who did do the big miracle?)

This is a 2 man con. Of course it's a 2 man con. I read American Gods. Crowely and Aziraphale have a plan. This might be version B or C, they might be springing it sooner than they hoped, but that break up was a ruse. A hard, painful ruse, but a ruse. They knew their respite would be short-lived, they've been putting something together for years now.

Crowley put something in Aziraphale's mouth during the kiss. I don't know what, but something he had to swallow. obligateweirdo pointed out that he seems to palm something out of his mouth when he touches his lips the second time, and that Houdini's wife used to slip him the keys to his cuffs with a kiss before his shows. Whatever Crowley gave Aziraphale, it's physical. And Michael Sheen has said he doesn't want to share what's in Aziraphale's pockets -- because Aziraphale put whatever Crowley gave him into a pocket?? Was it the fly? (But didn't that go into Gabriel's eye and stay there?) And if it was the fly, what was inside it?

Gabriel went somewhere else before he went to the book shop. He didn't come down the elevator at the Dirty Donkey. Did he go to Edinburgh? Is that why the pub owner recognized that picture so fast? "Oi! That's that naked bloke was in here last week!" (Or was him walking down the street because we first see him from Nina or Maggie's perspective?? POV muckery?)

SECRET SONGS??? Why are the songs secret?? I'm losing my mind, what is happening??

Several narrators. I'm not even sure how many, but we're seeing the world through the eyes of characters, not God or a faceless narrator. This is part of why things are weird. I don't think that's the full explanation for the whole season, but I think it's a big part of the weirdness. A book that comes up often in the show is The Crow Road by Ian Banks. A brief description of the book says that it is written from the point of view of several characters and the story is told out of order and in no particular fashion, with changes from character to character POV coming at no particular interval and with no warning. AHA! (I did come up with the idea before I saw this post, but @highlandwhackamole beat me to writing it. Well done!) NOW I'm wondering if we aren't also seeing the story as told by the characters we see, but as heard but an as-yet unknown character . . .

The scenes are out of order. The DAMN SCENES ARE OUT OF ORDER! I don't know their correct order, but they are out of order. The Crow Road, again, is told out of order, forcing the reader to piece the scenes together (from a brief description, I'm thinking more and more I need to read this book rather than try to skim it). Is it as simple as watching the scenes in chronological order??

Our angel and demon have hidden something in the book shop. Something important. I have no current guesses as to what. Crowley still has his crank from starting up the nebula. What else might he have taken with him? Is that it? Or something else? HOLY SHIT ARE THEY HIDING JESUS??? Is THAT who did the miracle??

When Aziraphale tells Crowley that their Gabriel miracle set off alarms in Heaven, he sort of raises his eyebrows and says it in the same way he says other things he doesn't mean -- the same tone he says "I forgive you" after the Kiss, or how he says "He says he's Bildad the Shuite," in the Job minisode. It wasn't the Gabriel miracle that set off alarms in Heaven, it was whatever Saraqael was doing, or whoever Saraqael is hiding, and Crowley is well aware of it and whatever Saraqael is up to. Aziraphale just told Crowley that they have to take responsibility for whatever Saraqael did to allay Heaven's suspicions. They are talking in code through more of this season than we first think.

The rainbow lens flairs sure look like eyes. Like a pupil and iris. Is this a subtle hint that we are seeing through someone else's eyes?

When Crowley and Aziraphale argue about what to do with Jimbriel, behind Aziraphale is a privacy screen, and behind Crowley is an open door. Does this reflect how each of them feels, that Aziraphale believes they are speaking in private and Crowley believes they are being listened in on?

Repeating themes:

Beverages of all kinds -- tea for Aziraphale, wine or whiskey for Crowley, cocoa for Jim.

Time -- lots of clocks/mentions of time

Love/partnership/togetherness being stronger than separateness

Queer couples -- is literally everyone in season 2 in a non-cis-het relationship?? Even the guy in the graveyard says he uses his phone for Grindr -- a gay men's dating hook-up app. Nothing wrong with it, but it's an interesting writing choice. Why? Equality and representation -- or a Clue? (I think it's a POV Clue!)

Memories/forgetting/remembering

Payment -- money comes up in both the Resurrectionists minisode and the Flesh Eating Nazi Zombies minisode, but no one pays for anything in present. There is bartering, but no money.

Rising from the dead -- Job's kids (even though they weren't actually dead), bodies used for science, Nazi zombies, the Second Coming.

Unreliable narrators

Death in general -- but 9a., I'm a dirty pagan, why didn't I make this connection sooner, death always leads to REBIRTH, change, something totally new and 9b. there are tarot cards in the magic shop, and even if you're not a dirty pagan, the Death tarot card means transition, something must die before a new thing can be born. Hmmmm.

Morality and what is "good" and what is right

Recognition and identity

Repeating words and phrases OMG the list goes on:

Technically

Properly

Isn't it just?

Too late

Funny old world

Not as such

Made for each other

EVERYWHERE

Obviously

Hints:

Powell and Pressburg films

The Crow Road

Catch 22

The Amazing Maurice and his Educated Rodents, Terry Pratchett in general

Jane Austin

Book Good Omens

The titles of episodes, minisodes, places, etc. 7a. The Arrival: a book and a movie, though the book seems far more relevant. And lovely. The Clue: a movie. Companion to Owls: a line from a Bible story. I Know Where I'm Going: a movie. The Resurrectionists: two novels, each called The Resurrectionist, singular. Both look unhinged. The Hitchhiker: a Twilight Zone episode. Nazi Zombie Flesheaters: Literally no other reference. ?? Nazi Zombies do appear in a LOT of movies, comics, and video games, usually as a dark joke. The Ball: a video game. Irrelevant? It's a puzzle-based game, so maybe not. Every Day: a song AND a movie. Some themes repeat here: Puzzle games, being re-directed from one's path to find true love, death and being brought back to life in a gruesome and unpleasant way.

That's what I have so far. I'll try to update with new ideas and information, as well as links to things that support my theories as I find them.

#good omens #good omens 2 #aziracrow #good omens fan theory #good omens puzzle game #crowley #good ineffable omens #good omens meta #good omens theory #good omens clues #good omens season 2

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xxacid-milkixx · 2 years ago

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Sam's HYGIENE TIPS !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

1. if you have oily hair, only use conditioner at the bottom of your hair where it will dry out the fastest. 2. If you're tired of being cold and wet coming out of the shower, dry yourself off in the shower so you're not as cold coming out. 3. If you hate showering, only take showers for 5-10 minutes so you feel like you wasted a lot of time (i used to take 30 minute showers) *make sure the water pressure is up higher to rinse your hair faster 4. Start with a warm shower to open up your pores so they can be better cleaned out; end with a cold shower to close your pores and keep new dirt from getting in. 5. If you just painted your nails and need them to dry quickly, put them under cold then hot water a few times, as the top layer of polish dries quicker in changing temperatures. 6. Remember when using facial moisturizer to get your neck too. 7. Don't blow dry your hair if you don't need to. The hot air can dry your scalp faster and may give you an itchy head. 8. Brush you're teeth for 2 minutes to get all the stuff out. You can pass the time while watching TV.

thank u for reading and leave any other helpful tips u learned in the replys

#sams shower tips #health tips #wellness #lifestyle #hygiene #skin care #beauty

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monterellaboutiquespa · 2 years ago

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Are you ready to look your best this spring? Read here to learn about essential beauty spa treatments for spring.

#Beauty Spa Treatments for Spring #Spring Beauty Spa Treatments #Monterella Boutique and Spa

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koerinz · 1 year ago

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Some additional details (its ended up a long post, sorry ^^”)

- Birthday is January 29, 1969

- Has a small mole to the left of his lip

- Had pale brown hair when he was very young, that got darker as he grew

- Began to like green because of Charlie, and continued to wear the colour often to remember her by after 1983

- Had a tendency to slouch / have bad posture as a kid and teen

- Wore silver stud earrings and a black cord bracelet from 11-20

- His clothing style, behaviour, and demeanour changed significantly after the Bite and then the death of his mom a year later, becoming more reserved and silently troubled

- Had a habit of nail biting (particularly when younger) from 5-37 until he was scooped

- Wears a wristwatch from 21-/, reminiscent of William’s style

- Short spoken and sarcastic as an adult, but is quiet most of the time

- After scooped, he has very dull skin, a sunken right eye, small facial scars, and large scarring on his torso

- In an attempt to look somewhat normal after the scooping, he sticks to heavily layering clothes, using bandages, and wearing a mask and wig

- Most people are put off by him due to the quiet and blunt nature, but it also means no one really questions the mask during FFPS

Michael timeline for my au

#reblog #fnaf #michael afton

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timextoxhajima · 3 years ago

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Nevertheless: Wishful Thinking [1]

[completed] [1] [2] [3] [4] [5]

synopsis: why would the college flirt want anything to do with the innocent heartbreaker? a [somewhat] nevertheless au featuring tbz's eric son young jae

genre [per chapter]: suggestive material, mentions of alcohol, SMUT *this series is a smut series so* please don't read if you're uncomfy. if you're underaged and you still wanna read, i'm not stopping you. i don't care because that's your responsibility to know what's fiction and what's not.

word count: 2.8k, half of which is probably filth

taglist: @from-xero

{this is a work of fiction}

"i'm sorry, i just... i just don't see you that way."

the boy tries his hardest not to choke (or sob) as he lowers his head, the bouquet of flowers in his hands crinkling when he brings it down to his side.

he huffs, using his tongue to poke the inner sides of his cheeks as his grimace pulls out into a smirk.

you look at him with utmost guilt, fingers awkwardly intertwined with one another as you scan the distraught on his face.

"so..." he slowly nods, looking up from the floor. "not even the most popular person on campus can win you over, huh?"

the label strikes a chord in you.

honestly, you were just waiting for him to say those words. you hadn't expected the campus star boy to confess to you tonight, much less at his own graduation party.

he was two years your senior and frankly way out of your league - leaving you with absolutely no clue how he came about to develop feelings for you.

you had wondered if he was merely capitalising on your growing reputation as the 'innocent heartbreaker'.

the pretty, new, freshman who just couldn't seem to stop heads from turning.

one of those heads was his.

wooseok scoffs, obviously unhappy and dissatisfied with your response.

how dare the pretty freshman reject the hottest boy on campus?

"okay," wooseok nods, still holding out the flowers to you. "at least take the flowers, would you?"

grimly picking the golden-wrapped roses from him, you scan his eyes, glossed with a layer of tears as his nose sours.

"wooseok-"

"no, don't," he interrupts you, sucking in a deep breath as he puffs out his chest. the yelling from outside his bedroom door calls the both of your attention.

"the party's still going on until morning, are you staying?"

with a light shake of your head, you hug the flowers close to your chest. your heart slows down, calming from the fact that he had brought you in here just to confess and not something else you were afraid of.

the guilt sinks in when you realise you didn't trust wooseok all that much.

"okay, well..." he clears his throat, rubbing the back of his neck. the silver shine off the school's logo on the varsity jacket glimmers under the room's ceiling light. "at least stay until we finish the first bottle of vodka? we have games later."

"oh, wooseok, i can't-"

"come on," he reaches forward and grabs your hands, his hands hot and warm. probably from the adrenaline he had to give himself to make this feat. "the first bottle."

you look up from his fingers and at his face, his fringe covering his eyes and casting sharp-angled shadows all over his lids.

your lips part, but before you can even utter a sound, he hops right in and exclaims with a grin on his face. "great! i'll see you around and come find me when you're leaving, okay?"

the smile lines extend from the sides of his nose and down to his lips, the shadow lines on his cheeks shifting as he turns on his heels, hands sliding off yours.

"i'll-" he points to his door, already reaching for the handle. "yeah. bye."

wooseok pulls the door open for him to exit, and right before he can shut the door behind him, his eyes come between the gap to take one last look at you.

the door clicks shut after he moves off first, and you're left with the roses in your arms, standing in the middle of his room, having just rejected the most sought-after bachelor in the school.

looking down at the roses once more, your finger-pads rub against the velvet petals, heart aching for him.

the neon lights in his room were casting a bright blue hue all over the walls and the carpeted ground, trophies for baseball and customised bats decorating almost every corner.

you turn to his bed, thinking of leaving the flowers on the cushion and leaving quietly through his window.

but your train of thought violently snapped into two when the party outside yells, followed by the loud thunking of the bass throughout the house.

the flowers are a reminder of how shit of a person you are.

you didn't ask to be a heartbreaker.

people tend to think you find joy in rejecting the brave ones who get their feelings across but you don't. not at all.

carefully laying the bouquet of flowers back onto his bed, you pull the door of his room open and step out into the hallway, the music blasting like everyone was deaf and hard of hearing.

the crowd in the living room comes into view when you start walking down the stairs - everybody jumping on beat to the likes of superbass and people yelling the all-time classic rap.

your knuckles whiten from gripping onto the wooden railings, unable to return yourself to the party when you've done broken the heart of the host himself.

so you turn on your heels, deciding to return to his room and crawl out through his window - only to be met by someone else.

"party's downstairs."

if you were the innocent heartbreaker...

then eric son was the vicious one - the male, sluttier equivalent of you.

"oh, well... party's not for me," you offer a tiny smile, slightly embarrassed to be caught making a u-turn.

eric tilts his head to the side, holding out an arm and resting it on the wooden railings. you lower your head, taking a step to your left in a bid to walk past him.

but you're stopped yet again by his arm reaching out, palm pressing flat into the concrete as he looks down at you.

you don't realise your fists are clenched (and sweating) until you rub them onto your dress.

"look, eric- i- i had a bad day and i just-"

"so walk out the front door," he raises a single brow, taking a step down and removing his hand off the wooden railing.

your feet fumble around each other in a bid not to topple down the stairs. turning to face you, he forces you to step back to maintain the safe distance between you.

"i don't want to make a scene-" the bad habit of picking your nails returns when your back hits the wall, and eric's standing an uncomfortable distance from you now.

"oh," he lifts his free hand and mirrors the other, keeping your neck between his forearms. but you are the scene. you can't just... leave."

a flustered chuckle runs through your throat as you lean your head back against the wall. "i don't have the time for this."

"make time for me," eric cocks his head to the side and glances down near the bottom of your face. "you can tell me about your bad day."

"i think i'll be fine on my own, thank you," carefully squatting and trying to shrink out from the wall-eric sandwich, your brows furrow as you shift.

but eric son buckles his arm and halves the distance he has between your faces, the sudden surge forcing you back upright.

now his breath is hot on your jaw and you turn away from him, lips pursed into a thin, tight line.

"the 'innocent heartbreaker'," he gently hums, fingers reaching up to play with the curled locks fallen around your upper arms. the fleeting brushes of his skin across yours draw out chills, and a harsh inhale twitches your facial expressions to his liking. "i can see why boys would fall for this."

with your eyes still glued to the party downstairs, you part your lips, wanting to explain yourself.

then eric, with the weight of feathers, reaches up to your chin and tilts it towards him.

his lips are parted as he slides his tongue across his teeth. he sighs softly, eyes travelling from yours to your lips and back up.

by now, you can feel his breath on your philtrum.

"you're pretty," he whispers, almost against your lips.

and your stomach plummets when he pulls away completely, the cool air rushing in to replace the bodily heat.

without breaking eye contact, even for a single second, eric pushes himself off the wall. lips drawn out into a wide smile, he adjusts his jacket and runs his hand through his hair.

"but not that pretty."

you don't realise your heart's racing until you feel your chest heaving, unknowingly panting from the unruly interaction the vicious heartbreaker has just provided you.

the world finally seeps back into view and into complete perfect audio, the music finally rumbling through you again when your eyes trail after eric, walking into the crowd jumping in the living room.

the taste of iron seeps out from the inside of your lips, and you dart your tongue across the mark that your teeth have left on your flesh.

clearing your throat and shaking the thought of eric out of your head, you turn back up the steps and head back into wooseok's bedroom.

the blue hues of the room start to sink into your consciousness again, the yellow shade of the bouquet wrap looking more like green under the lighting.

you take a moment to fester - over wooseok, over your reputation, over eric.

college just started and here you were, feeling guilty over something that wasn't even your fault.

the final decision comes to rest on your fingers in the form of pulling wooseok's window open, carefully lifting your feet and crawling under the glass.

now, troublemaker was playing, muffled but definitely loud enough to be heard at least 3 houses down the road. you climb onto the roof of his garage, eyes scanning to cars parked outside and along the road.

you stride to the side where you know wooseok had a wooden plating attached to one of the walls, fake vines intertwined between the planks.

it's a relief when your feet meet the concrete ground, and nobody was in sight - until you back up into someone's chest and you turn to find eric, again.

"what in the world-"

he cuts you off by grabbing your waist, slotting his lips between yours and holding your chin to align your faces.

you were nearly bought into it, but the consciousness seeps back into you and you rip your face off his, palms one his chest with his hands still on your waist.

"what do you think you're doing?"

"i could ask you the same thing."

"you already know I'm leaving."

"you can't leave just yet."

"why the hell not?"

"because I'm not done with you."

with a low huff, he hoists you up onto his hips, lips crashing onto yours as he walks you backwards, your shoulder blades hitting the wall where you had climbed down from.

there's a gentle rattle when he keeps you up against the wooden planks, his palms riding the skirt of your dress up and over your hips.

his fingers slide under the material of your underwear hugging your pelvis, hot skin gripping onto the flesh of your rear.

then you hear a tear amongst the mess he's making on your lips, and the material of your underwear loosens.

"what the-"

"shh," he smirks, now turning his head into your neck to nip on your jaw. your chest heaves from the sensitivity, the fluttering sensation of his lips on your neck drilling chills all through you. "make a sound and everyone will know you couldn't say no to me."

conscience returns to you for a split second.

"eric- we can't-"

before you can finish your sentence, eric drags the thin material out from under you and dangles it before you, his eyes clouded and dark.

the darkened patch of material on your underwear washes your face in pink and heat.

"you were saying?"

your stomach plummets, and you now register the coolness on your core. eric smiles, rolling up the material to shove it into his pocket.

"eric-" your fingers dig into his left forearm as they return to the wall by your head, his right carefully undoing his belt.

the clink of the metal followed by the zipper coming undone forms a knot in your stomach already, then his fingers coming to spread your neediness all over you forces a sharp whimper up your lungs.

"I've done nothing..." he shakes his head, sliding a single finger up and down your core. "and you are so wet."

he lifts his finger from under your skirt, his fingers glistening under the sharp, fluorescent lighting.

your hooded lids are just about tearing with the overwhelming ache that's throbbing through you, and he makes it worse by running his tongue all over his finger.

eric's pride swells when a whine escapes your throat, and he presses himself into you, chest against yours with his hands digging into your thighs. your arms circle around his shoulders, pulling him closer for a deep, slow kiss.

he prods against you, the throbbing ache spiking when his manhood rubs against your core. groaning into the kiss, your entire being squirms between him and the wall with the muffled music still blasting from the living room.

he doesn't bother to wait for you before he finds his manhood and aligns it with your entrance, gently prodding before sliding himself in like it was meant to be.

he buries himself inside you by holding your thighs around his hips even tighter, drawing a low and prolonged moan from your lips.

eric pulls away, pressing his forehead into yours to let you breathe. but he finds some kind of sadistic pleasure when he pulls his hips away, only to slam right back in, earning a sharp yelp from you.

"go any louder, princess, and i won't be the only one enjoying this."

he grins to himself, licking his lips before diving into your neck and picking at all the right spots. every kiss and nibble earned him a moan or a mewl and it ruins your pride over and over to know that you had just broken someone's heart tonight.

yet you were outside that someone's house, letting eric rail you like he owned you.

your fingers claw and grip at his shirt as you feel your back jerk and rock against the wooden plank. with every thrust he offers you, he sounds like he's laughing and panting at the same time, the hot breath on your neck making you writhe in a guilty pleasure.

he offers a few slower thrusts before grabbing your chin to look at him, eyes slightly fucked out and your thighs tired from keeping your body locked to his.

slowly pulling out and sliding back in, he takes the time to revel in the way your brows furrow and your lips fall apart, your curled hair now a mess around your chest and shoulders.

"that's it, princess," he leans into your ear and coos. "tell me how good that feels."

unable to form a coherent word in your head, you whine in response, pulling his face to yours and planting your lips onto his with every ounce of energy left in you.

his hands fumble under your skirt and find your sensitivity, pressing his thumb flat onto you. the pressure jerks you upwards and he takes the opportunity to reposition himself, changing the angle ever so slightly.

by some miracle, the tip of him buried inside you finds the magic spot, and when he picks up his pace, the knot starts to find you in eternal bliss.

eric pulls away again, huffing as he thrusts himself into you, fingers flicking and abusing you as if your legs weren't already shaking and convulsing around his hips.

"good girl," his breath is heavy on your jaw as he plants a few wet kisses there, his pants bringing you to some newer heights. your vision starts to fade into white with a few more thrusts and his fingers dig into your thighs when your lower body starts to spasm.

muscles flexing, your entire body squirms and trembles as you meet your high.

then eric hurriedly pulls out, the hot fluid dribbling all over the ground under you.

while you come down from your high, eric's strained grunts rumble through his torso under your arms. the vein that popped out on his neck was still there, and your senses only allow enough for you to focus on eric now.

he bites on his bottom lip and pushes his hair back with a deep inhale. he turns to you, eyes wide open and clear.

"not such an innocent princess now, are you?"

#nevertheless: wishful thinking #the boyz smut #the boyz scenarios #the boyz imagines #eric smut #eric scenarios #eric imagines #tbz smut #tbz scenarios #tbz imagines #eric sohn scenarios #eric sohn smut #eric sohn imagines #eric x reader smut #eric x reader #tbz x reader #the boyz x reader

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cartoonscientist · 2 years ago

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HARM REDUCTION GUIDE TO FACIAL SKIN PICKING

DISCLAIMER: I am not any kind of professional except a professional artist

So obviously the best thing to do would be to avoid picking altogether, but we all know it’s a compulsion/addiction and you can’t always control yourself. If you DO end up picking, here’s a step by step guide on how to leave the least amount of damage.

1. When you pick, wrap a t shirt around your fingers and press instead of using your nails or tweezers. Stretch the skin first, then squeeze it a maximum of two times. Don’t press so hard that you abrade the skin or make a blood blister. If you do detach a layer of skin, immediately flatten the skin back down and put a thick layer of antibiotic ointment on it after cleaning your face, being careful not to disturb the wound. Don’t pick existing wounds that don’t have a white ring of pus around them; if it does, you can press down on the scab to drain it, but don’t squeeze it horizontally.

2. After you pick, wash your face with soap/cleanser (preferable) or wipe it with a facial wipe (second best thing), preferably one that is specifically formulated for facial oils and dirt and not just a makeup remover. I find that tea tree oil and charcoal are good ingredients for reducing inflammation. My personal favorite is Epielle Deep Pore Charcoal Cleanser which is a cheaper dupe for Biore charcoal cleanser.

3. Apply a medicated moisturizer for broken/distressed skin. I’ve seen amazing results from Aveeno Restorative Skin Therapy Oat Repairing Cream. It’s good to find a quick-absorbing moisturizer to avoid irritating your wounds.

4. If you want to stop the bleeding, dab your smaller wounds with a styptic pencil. Apply medicated ointment and/or hydrocolloid patches. If you don’t have a prescription, use benzoyl peroxide ointment. It’s a good idea to see a dermatologist if your insurance will cover it. Most of them are experienced with dermatillomania and will prescribe you a morning medication and a night medication (usually tretinoin, which also helps reduce scarring). Apply antibiotic ointment to any large wounds. Sometimes you can find hydrocolloid patches at the dollar store or buy a large package of hydrocolloid bandages and cut them up. They’re also selling Starface packs at some Walmarts now for about ten dollars, which are colorful star-shaped patches.

5. Try not to disturb your scabs as they heal. If you pick again, use a different spot. I like to pull ingrown hairs out of my legs with tweezers to take some of the stress off my face.; if you do it right by gripping the tiny amount of hair just above the surface, you can actually just pull the hair out from under the skin without making a wound. You could try playing a mobile game like Cocoppa Play, Shining Nikki, or Purristas Cat Cafe. I also find crocheting helpful.

Oh and just as a side note, I find that fruit acid based facial cleansers used with hot water really help with reducing the look of picking injuries before I go out in public. I use Aveeno Positively Radiant In-Shower Facial.

Stay safe guys, and remember, one relapse doesn’t throw all your progress away. You still have your learned coping mechanisms. Your face will still look better in a week if you stop now.

#skin picking #dermatillomania #excoriation disorder

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puttingherinhistory · 5 years ago

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“ Madison, who works a customer service job at an airport spa, has an employee handbook that says “makeup should be well maintained” and “hands and nails must be well manicured.” She says the few men she works with just ignore these guidelines “because they’re meant for women but [it] doesn’t explicitly say that.” Her wages ($13.25 per hour + 15% retail commission) do not include additional pay to purchase manicures or makeup. During her interview, her now-boss commented on how nice her makeup looked and how well her shoes matched her purse—comments that make her feel like she needs to keep up that kind of appearance even though she already has the job.

It’s well known that a persistent wage gap exists for women workers in the United States, a gap that becomes even wider when race, industry, age and geography are taken into account. But less frequently discussed is the often silent expectation around appearance imposed on women workers, which has its own financial costs—known as the “grooming gap.” The grooming gap refers to the set of social norms regarding grooming and appearance for women, including the time women workers must spend to conform to these norms and the material consequences it has on their lives.

We’ve all heard the common advice to “look the part” at work. For men, that can often just mean business casual clothing and a short haircut. For women, it can mean hours spent each week on makeup, hair styling and curating an outfit that’s both attractive and professional.

The rules are usually unspoken; even when employers do not explicitly require workers to wear makeup, for example, women workers often feel required to wear it anyway.

They’re not wrong: Sociologists Jaclyn Wong and Andrew Penner found that physically attractive workers have higher incomes than average-looking workers, but that this relationship is eliminated when controlling for grooming in women. In other words, if you purchase the right clothes, makeup and haircut, higher wages are more within reach. It’s true that men need to abide by certain grooming rules, too, but they are less complex, less expensive and less time consuming. Men’s haircuts, for example, often cost much less than women’s haircuts—regardless of hair length. The grooming gap essentially constitutes a pay cut catch-22: If women don’t conform, they are paid less; if they do conform, they’re expected to use those higher wages on beauty products and grooming regimens.

Grooming costs for women can be extremely expensive; the global beauty industry, valued at $532 billion worldwide, directs aggressive advertising toward women to convince them they need to purchase a whole host of products to have a chance at being beautiful, well-liked or successful. The industry relies on maintaining impossible expectations around women’s looks so it can continue to rake in enormous profits. One 2017 study found the average woman puts $8 worth of product on her face each day; another found the average woman spends up to $225,000 on skincare and makeup during her lifetime. And then there’s the “pink tax”: Studies confirm that, 42% of the time, products marketed to women are more expensive than comparable products targeted to men.

The grooming gap also results in a loss of free time: 55 minutes each day for the average woman, the equivalent of two full weeks each year. Sara Nelson, president of the Association of Flight Attendants-CWA (AFACWA), says that, in her industry—a workforce that is 79.3% women—the expectation around appearance literally “interrupts your sleep”: Flight attendants get minimal rest between flights, and that rest time is further shrunk because they are expected to appear “perfectly coifed” before their next flight. Nelson says that all of her grooming tasks took 30–40 minutes each day (more than two hours in a five-day work week). Madison agrees: it takes her 45 minutes to do her makeup and style her hair before her 7 a.m. shift—and she wakes up at 5 a.m. to get it all done. Prior to this job, Madison says she worked at the beauty department at Target, where she spent $200 on products every other week.

Restaurant and hospitality workers are perhaps hardest hit by the grooming gap, as they rely on tips to survive. When I was a barista in 2010–2011, the only official dress code rule was to wear closed-toed shoes, for safety. Still, I knew I had to show up looking pretty to pay the rent; I made less than $10 an hour and I needed the tips.

Katie, 36, a veteran bartender and server in Fort Smith, Ark., says at her current job, it’s “understood” she should wear makeup. At a previous restaurant, a manager even told her and her coworkers they would “make better tips if [they] wore makeup.”

“Based on my own appearance—weight fluctuations, makeup versus no makeup, jewelry versus no jewelry—there’s a definite difference,” Katie says. She adds that she was passed over for the most lucrative bartending shifts at her previous job after overhearing her managers say they wanted “cuter girls” to bartend instead.

Multi-billion dollar industries also market fad diets and anti-aging products to women. Both Katie and Jeeva, 24, a bartender and member of UNITE HERE, the union representing hospitality, hotel and airport workers, worry about aging. “As you get older, as a female bartender, your tips can go down,” Jeeva says. Katie says she “hope[s] to leave [the service industry] in the next 10 years, before I get too ugly.”

The grooming gap’s effects are compounded for women of color. According to Restaurant Opportunity Center, restaurant owners look for workers who are “clean-cut, [have] good hygiene or a professional appearance, all potential code words for race.” For instance, Black women spent $473 million on relaxers, weaves and other hair care in 2017, in part because of racist ideas that natural Black hair is not professional or attractive. Black workers annually spend nine times more on hair and beauty products than other workers.

For transgender women, too, there can be an added layer of work, stress and self-consciousness. Autumn, who transitioned while at her current publishing job in Washington, D.C., says she quickly realized how much time and energy it takes to perform femininity for work. She used to spend 20 minutes to get ready in the morning, but now takes at least 45 minutes. Autumn adds, “I have to do things that cis women don’t have to… [but] it’s gotten easier with time and practice,” like tucking and dealing with facial hair. Because she presents extremely femme, Autumn says she hasn’t dealt with enforcement around her appearance, but other women workers around the country have been disciplined and even fired for appearing insufficiently feminine. Women workers have sued—and won—over gender discrimination that manifests as attractiveness discrimination.

Nat, a trans woman who works at a union in the Washington, D.C., area, says, “I didn’t feel like I was allowed to be a woman if I liked masculine things. It delayed any kind of self-reflection” about gender and identity “for such a long time.”

At work and in the world, all women—cis and trans—feel the pressure to conform to normative standards of femininity and attractiveness. But the solution to this problem isn’t to throw away all the eyeshadow or take out a new line of credit for weekly manicures. The solution is to organize together.”

Continued in the link to the article, but uh

TL;DR: There’s a significant wage gap between women who conform to traditional feminine beauty standards by, for example wearing makeup and heels and using a lot of hair and beauty products, and the women who don’t. Meaning women are financially punished for not conforming to femininity or beauty standards. The gap is worse for women of color and trans women because there’s higher beauty standards for women of color and trans women.

And when women do get those higher wages by playing the game and conforming to beauty standards and femininity, they have to spend 2x-3x+ more on grooming and their appearance than their male colleagues, so those high wages just disappear and go right back into keeping up their looks, making it difficult if not impossible to keep up financially with men, this isn’t even mentioning how much more time women lose each day to having to keep up their “professional” appearance compared to male colleagues.

#Feminism #Womanism #intersectional feminism #beauty #beauty standards #cosmetics #makeup #make-up #fashion

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ofcowardiceandkings · 5 years ago

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UH WHOA not only am i posting art but theres so much of it lmfao

ive been meaning to do this for mmmm a long time, and i decided to get it cleaned up so i can present folks with my homebrew/headcanon/thingy for the d&d playable races !! i know ive missed a few off but these are ones ive seen more of over all in my own travels in Nerd Game lol

ive only DMed one thing so far (our lost mines of phandelver adventure was a total blast but oh boy the shenanigans) but im like ... drowning in it all, have been for a loooonng time since i first played Neverwinter Nights when i was like 11, i just didnt have a party to mess with yet lmao (fingers crossed our schedules get sorted so the campaign goes ahead soooooonnn).. so ive been developing some of these various homebrewy headcanons for uh over half my life

getting them all together in one place like this was unbelievably fun !!

gonna yell under the cut for a bit about it more but very shortly i’ll be opening for d&d character / item / creature commissions so watch this space or pop me a message to get in a queue <3

these headcanon things are half based on “that looks cool” and Sciencing. a lot of the more humanoid in some way races ive really pulled on human ancestors a lot, as well as muscle development in different sports. And Animals, because ye

i haven’t included humans in this mammoth endeavour because we should all know what a Human People looks like, and their proportions aren’t any different in the world of D&D i run at least lol similarly, because they’re an exact intersection between humans & either elves or orcs, the half-species arent included on here either [shrugs] i WILL talk about them some here though !!

i might eventually update this with some npc generators ive made using my own descriptors and headcanons >.>

ELVES av height; 5′6 | heads-high; 8.5 generally long limbed, with fine wispy hair, elves senses are very heightened. helping in this, their eyes are almond-shaped with slightly narrow pupils, their large radar-like ears are very mobile, and the underside of their noses are covered in a lightly damp pitted leather. part of their ability to maintain grace with an elongated frame, aside from longer springy feet, is aided by a tail built somewhat like a horse, with a skirt of hair down its length, only with a slightly longer bone to it than would be seen in the typical pony. excepting a very light dusting on their lower limbs, they typically have very little body hair. sometimes their skin shimmers, or freckles sparkle.

GNOME av height; 3′6 | heads-high; 6.5 gnomes are almost like diminutive elves with a few key differences. their hair tends to be wild if left alone, but is often styled wildly anyway. set rather low on rounded but long faces, their large almond eyes are keen, and small hands very nimble. it’s not sure if its due to their close environments or frequent encounters with accidents in experiments, but their skulls are surprisingly hard, and they possess small horn nubs made of bone and coated in keratin. their small petal-shaped ears are set low and point outward, and are able to move a little to catch sound. they may look fragile due to their size and build but they are pretty hardy and more than capable.

HALFLING av height; 3′ | heads-high; 6 a very hardy but soft and welcoming folk, halflings are built for walking and surviving well, often coming from a semi-nomadic tradition. they typically have round faces with stronger jaws and soft round eyes, and their large ears are pointed upright. their figures easily get a little curved and chubby, especially when they have easy access to decent food, in preparation for harder times and the odd period of hunkering down for some downtime, say in poor weather. truly the most functional part of a halfling is their short powerful legs with big fairly flexible hard feet, and lion-like tail for balance, both insulated by hair.

DWARF av height; 4′3 | heads-high; 6.5 dwarves are accustomed to life in tougher terrain, typically with large parts spent in the ground. their broad frames are also squat down with thick short limbs, for huge power and for life in tunnels. wide feet keep them steady and sensitive to significant seismic energy in the earth, and wide hands aid in their work and the feel of the rock. their large round ears stick outward and are slightly mobile, large noses help condition the air, and high-set eyes with huge irises aid their vision in darker spaces and the ability to peek over things without being fully exposed. their skulls are also very thick just in case of falling rocks. all dwarves are very hairy and grow beards, taking pride in keeping and styling it.

GOLIATH av height; 7′6 | heads-high; 10 a totally different variety of rock & mountain people to dwarves, they do share a few traits. a goliath’s thick limbs are long with a big reach and huge stride, with big hands and feet for steady movement. as well as being hugely tall, they are broad, especially in their shoulders, with a long neck elevating their head further. their facial features tend to be very sharp, but long. they have little to no body hair, and they often dont grow head hair either, but decorate their skulls with tattoos. as they get older, the upper surfaces of their body develop pebble like growths under the skin, often in similar patterns to their habitats.

FIRBOLG av height; 7′6 | heads high; 9 firbolg typically live in deep forests but are actually a giantkin - although not too unbelievable given their huge height and thick build. large parts of their body are hairy, nearly furry, and their head hair is thick and wild, and they often have facial hair too. their large heads have long thick noses with an almost bovine leather to their top lips, and wide set eyes. their fluffy ears are very mobile, but when relaxed they drop and point downward. their nails are thick and sturdy, aiding in being even more dexterous while being so big. sometimes they are covered in layers of clothing, but they possess a tiny goat-like tail.

DRAGONBORN av height; 6′6 | heads-high; 8 dragonborns diverged from true dragons in the ancient past, likely due to a strong magical influence of some kind, but not so long ago that the bloodlines of dragons are absent from the race of dragonborn. (the illustration shows the typical head-shape and placement of ears, each bloodline has its own features). their chest is still very round like an animal, with deep chest muscles, a slightly less mobile shoulder, and short upper arm. their 4 clawed hands and feet somewhat resemble that of a true dragon, but smaller and a little less dangerous. the length of a dragonborn’s tail can vary from just the length from hips to floor, or up to their full height, and as well as being very useful for balance and dexterity, can be used for fighting. different bloodlines can interbreed, with it being a matter of chance which line is present in offspring (although metallic is more dominant over gemstone, and chromatic over both ... (ah yeah gemstone, ill get to that soon))

AARAKOCRA av height; 5′ | heads-high; 8.5 as an avian species, especially one capable of flight, the aarakocra’s bones are hollow, making them on the one hand very agile but a little fragile. their large wingspan nearly brushes the floor, and their wings attach high on their back, through to a deep avian keel. their arms have a long forearm, which is covered in bird-like scutes, and their 4 clawed hands are still remarkably talon like which quite short palms and very mobile thumbs. their legs are very long and powerful, and backed by a typically wedge shaped tail. more often than not, their physical appearance takes after raptor species of birds, but different populations can trend towards many different appearances, including parrots and waterfowl.

TABAXI av height; 6′6 | heads-high; 9 tabaxi are an unusual sight in many places still. their cat-like bodies are very flexible and suited to their athletic climbing lifestyle. their long hands and feet have very a powerful grip, and they can retract their front claws. their long feline face is something like a cheetah or a clouded-leopard, with large highly mobile ears, large eyes and a strong nose.

ORC

av height; 6′6 | heads-high; 8

orcs are very powerfully build, with heavy muscles and thick bodies overall. compared to other humanoids they can look a little gorilla-like. their short legs are usually a little bent to carry weight better instead of busting knees when locked. their course wiry hair grows profusely all over their body. their strong nails often grow out a little pointed. their large thick heads have high heavy brows and protruding lower jaws, short round noses and low bud-shaped ears which stick outward. the lower jaw and sometimes upper contain tusks, sometimes multiple tusks, which are greatly cared for and very impressive.

HALF-ELVES av height; 5′6 | heads-high; 8.25 a half-elf’s build will be somewhere between human and elf, often inheriting something of an elf’s eyes and nose leather, shorter elf ears, and maybe a small tufted tail something like a rabbits

HALF-ORCS av height; 6′ | heads-high; 8 a half-orc’s build will be somewhere between human and elf, often inheriting something of an orc’s skin colour and dark and profuse wiry hair, shorter orc ears, and some small tusks.

GOBLIN av height; 4′ (stood straight) | heads high; 5.5 bat/cat-like ears, nose something like bear/cat, domed head, arms/legs same length, sparse wiry hair, claws, short digits, lithe but very strong and hardy

HOBGOBLIN av height; 5′3 (stood straight) | heads high; 8 bat/cat-like ears but pinched at the base, nose something like bear/cat, very domed head, arms slightly longer than legs, claws, sparse wiry hair, quite broad

BUGBEAR av height; 7′ (stood straight) | heads high; 7.5 bat-like ears, long domed head something like a lion/bear, arms very long, nearly totally covered in thick fur, big tusks and often fangs, very bear-like hands/feet, big claws, very broad

TRITON av height; 5′2 | heads high; 7.5 lithe but well muscled, quite streamlined for a humanoid, frilled ears, pretty flat face, fins on limbs/back, “hair” is tendrils/fins/etc, short strong legs & long arms, long webbed fingers, long flipper feet, gills along front/side of chest

YUAN-TI PUREBLOOD av height; 5′9 | heads high; 9 domed angular faces, lips are not humanoid, triangular eyes, scales, quite flat nostrils with sense pits following along underside cheekbones, very little cartilage in ear, some may have cobra hoods extending out of ear instead, very tall and thin with small hands/feet, reptilian claws

CENTAUR av height; 7′ | heads high; 10 fairly stocky pony body (usually about 4′10 at withers), very muscled front end, long neck & sloping human-shoulders, long faces with long broad noses, prominent lips, horse-like ears sticking up and out, their whole scalp can grow hair but shaved sides are common, can grow hair nearly all down human-spine

KOBOLD av height; 2′6 | heads high; 5.5 almost alligator-like head & eyes, tiny nub horns, quite animal-like chest, arms/legs same length, thick stubby tail same length of body, 4 digits with stubby claws, lithe but strong for their tiny size

KENKU av height; 4′ | heads high; 5.5 corvid features, deep chest but no keel, longer arms than legs, 4 digits with talons, hands human-like but scaled, wedge-like tail half of leg height, not-quite fully bird feet.

LIZARDFOLK av height; 6′6 | heads high; 7 iguana-like, egg-shaped head, neck wattle, line of back spines varies in height, long arms and legs, very reptilian hands and feet with long claws, elbow spikes

GRUNG av height; 3′ | heads high; 6.5 large heads, neck leads nearly directly into torso, super flexible, very long limbs, triangular body, short upper arm, shorter thigh, large hands/feet, 4 digits

LOXODON av height; 7′6 | heads high; 5.5 large head, trunk as long as torso, short legs / long arms, huge bones under thick muscle, thick skin, 4 digits with thick nails, large hands / rounded cushioned feet, v e r y broad and thick build, small tail with tuft at the end,

TORTLE av height; 7′6 | heads-high; 7 thick wrinkled skin encased in huge shell, stooping posture with neck extending forward, very long arms & short legs, 5 digits with reptilian claws, boxy head, heart shaped from above with features set far forward, tail to balance stoop

MINOTAUR av height; 7′ | heads-high; 9 powerful build with thick bones, typically well muscled, bovine head on thick neck, often very large horns, fairly long tufted tail, big hooved feet, broad 4 digit hands with thick nails, hair length varies

PLANE THINGS ???

listen this was a lot easier in the edition i first encountered lol anyway, until anything else comes up in extra material im just applying a few square & rectangle venn diagram rules

a useful word; planetouched. i dont really know why WotC seems to have dropped that term for at least 5e (i missed 4e entirely) but it refers to a “mortal native outsider” with lineage or influence from a plane other than the material, so “a material plane native creature with non-native plane influence, which can die”

GENASI height depends on material plane parent the result of a material plane / elemental pair (usually genies). they usually take after their material parent in build and broader features, but their elemental heritage comes through in features like magical hair, bright coloured eyes, unusual body temperatures, innate magics, etc. genasi can interbreed with themselves, and the crossing of two elements can produce some interesting results (im working on that :>)

TIEFLINGS height depends on material plane parents this is the first of the squares & rectangles, and tbh its basically canonical. a tiefling is the result of a material plane humanoid being born with fiendish* influence. the word ‘tiefling’ refers specifically to a human with fiendish influence, but is also an umbrella term for ALL fiendish planetouched creatures. these DO have some names mentioned in the play material ! fey’ri = elves, tanarukk = orcs, wisplings = halflings, maeluth = dwarves, etc. so all fiendish planetouched are tieflings, but not all tieflings are human-based. the fiendish influence can be dormant for years or just string along for decades. AnyWay, all of them have horns, most have tails, odd skin or eye colour, and others can have all sorts of extraplanar features. *(fiends are another venn diagram thing in D&D, its an umbrella term for both demons and devils)

AASIMAR height depends on material plane parents aaand this is the second of the squares & rectangles, the not-strictly-canon one. okay duplicate what i said about tieflings, but make it about celestials not fiends, basically lmao. aasimar is an umbrella term, but also a human/celestial planetouched specifically! unlike the above, since its my homebrew concept i dont have other words specifically for other races’ celestial planetouched, but i’ll get there watch this space lol EnyHoo, they all tend to have a strange glow about them in general, but usually in their eyes, and maybe hair especially. it isnt uncommon for them to have a kind of halo around themselves, or glowing glyphs/runes/sigils on or around them either. while MOST dont have full wings, a dusting of feathers isnt unusual. the features of celestials can vary a lot more. for example, unicorns and leonals are actually celestials!

aaand the slightly odd-ball;

WARFORGED height depends on build purpose these are an interesting case, as warforged are actually constructs, brought into this world by the fusing of organic muscle (like wood or leathery material) to an inorganic shell (like stone or metal), imbuing a life-giving fluid of some sort to act like blood, and bringing life to it by a powerful ritual - a unique glyph etched into their heads. as their name suggests they are usually created to become soldiers, or other army positions, although they could be suited to other purposes. unlike most constructs, they are fully self-aware and have a mind on par with humans. they do not need sleep (but require rest) and they also do not naturally reproduce. if they live longer than their purpose, then they are turned loose to deal with the world as they wish. as they are MADE they can vary greatly depending on who made them, and for what exact purpose - although they tend to have beak-like mouths, and 3 digit hands and 2 toed feet.

AV. HEIGHT CHART FROM LEFT TO RIGHT !!! human - elf - dwarf - gnome - halfling - orc - goliath - firbolg - dragonborn - aarakocra - tabaxi - kenku - hobgoblin - bugbear - yuanti - triton - kobold - grung - lizardfolk - tortle - centaur - minotaur - loxodon

oooboy that was a lot of waffle :L

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chalkrevelations · 4 years ago

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Word of Honor Ep 6, and let’s talk a little about what’s canon, and what’s not, and about the particular slip-slidiness of the line between them on this show.

But first, due diligence: If you are NEW or JUST VISITING, this is a re-watch, so you’re going to find SPOILERS not just for this ep, but for the entire show. Scroll away and come back later if you haven’t seen all 36.5 eps and want to watch unspoiled. Also, heads-up, this got super long, because I had to talk about that stuff up there and then still talk about the ep. Hashtag long post (remorseful).

So, “canon,” as applied to fannish source material (in Western fandom, at least) traditionally has been considered the official stuff – the episode, the book, the comic, the movie – based on the religious definition of “canon,” the collection of texts accepted as genuine and official within a religion. The word “fanon” – widely accepted fannish ideas – plays on this, as does the fandom concept of “word of God,” or things the Creators have said about the text but outside of it. Is it in the show as it aired or the book as it was printed? Canon. Is it not in the show as it aired or the book as it was printed? Not canon. (Apocrypha? Maybe. Anyway.) Generally, I think we’d say that things like material in the first draft of a script that doesn’t make it through revisions and onto the screen isn’t canon, even if you can get your hands on a copy of the first draft. The final product that airs is what’s canon. BUT this gets super slippery in something like WoH, in a way that’s exemplified in this episode. This ep is one of the places where people who can lip-read Chinese have spotted some significant dialogue changes between what the actors say on-screen and what lines have been dubbed in. (Everybody’s dubbed in cdramas, it’s just the thing that happens. You have your on-screen actors, and you have your voice actors. The ONLY person in The Untamed who did his own voice dubbing, for instance, was Ji Li, who played Nie Huaisang. All the other characters had voice actors dubbed in. In fact, the voice actor for Jiang Cheng in The Untamed is the voice actor for Wen Kexing in WoH.) One of the descriptions of WoH that I’ve heard is that this show was filmed as a bl and dubbed as a bromance. The thing is, nobody tried very hard to hide the shift. There are plenty of places that you can clearly see the actor’s mouths don’t match the dubbing, and they’re not artfully shot or edited to hide this. They’re fully on-screen, mouthing words that don’t match, right out in the open, almost like they want to you to pick up on it. Almost like it’s canon, because it’s right there on-screen, aired in the episode. In my first-watch reactions to Eps 36 and 37, I talked a lot about how the dubbing puts a layer of de-queered no-homo over what the on-screen actors are saying in these places, but if you can see what they’re actually saying and understand it, does that make it canon? What does it mean, both textually and meta-textually, if you can’t believe what you’re hearing – what you’re being told – because it contradicts what you’re seeing? How does that affect what we’re told about Our Protagonists and its “truth,” particularly in the final scenes? How much is the show deliberately working against censorship in this way? How much is it teaching us to look deeper than what we’re hearing on the surface?

Several people have talked about what’s actually being said by the on-screen actors in places where this happens, and I’m going to direct you to AvenueX on Youtube if you want a complete overview, because she’s reliable and has a good compilation that’s easy to find. She has a couple of videos called “Lip Reading for Sugar,” and the March 9, 2021, installment includes the Ep 6 incidences, the most significant of which are: At 3:05 in the ep, when WKX throws himself on Zhou Zishu’s back during the zombie Drug Men attack, calls him “mom,” asks ZZS to carry him, and tells “mom” that “your shoulder blades are the most beautiful.” Only no, Gong Jun didn’t say this, if you watch his mouth compared to the sound of the words. Instead of “niang” (mom), he says “Zhou Zishu.” Twice. “Zhou Zishu, carry me.” “Zhou Zishu, your shoulder blades are the most beautiful.” This is not only important because it emphasizes he’s gay for Zhou Zishu’s shoulder blades, but also because he’s fucking baked on Drunk Like A Dream incense when it happens, and later, ZZS will reveal that Drunk Like a Dream makes you see what you most desire, and he’ll confront WKX about how he “kept calling” someone’s name while he was under the influence of it. This makes no sense with the dubbing we get, because with “mom” dubbed over ZZS’s name here, WKX only calls Zhou Zishu’s real name once while he’s under the influence, at the end of ep 5. That is not kept calling. ANYWAY, once WKX clears his head and flies them away from the Drug Men, back to the a lakeside, there’s another disjunct at 5:05, when the dubbing has WKX tell ZZS not to play hero, that he doesn’t lose face if WKX helps him, and ZZS responds with something about your grandmother’s bear, which AvenueX tells me is a real Chinese idiom, although not for what. What Gong Jun and Zhang Zhehan appear to actually have said, though, is that WKX tells ZZS that this was just like a hero saving a beauty, with the implication that ZZS is the beauty, the damsel in distress, and ZZS respons that no, it’s like the beauty saving the hero, without a lick of concern that he’s the beauty, the damsel, in this scenario, just that he did all the work killing Drug Men and now this asshole is going to act like he’s the one who did the saving. At 31:24, dubbing has WKX telling ZZS that he’ll give ZZS whatever he wants if ZZS can get him some of the Drunk Like a Dream, but AvenueX tells me that he actually offers his body in exchange, in a way that implies marriage. And at 32:22, when ZZS asks WKX what he saw under the influence of the Drunk Like a Dream, the dubbing gives us some random story about baby WKX throwing a rat on his mother’s bed, while Gong Jun’s mouth seems to be saying something something about being in the bridal chamber with his beloved … so circling back to our first instance at 3:05, WKX using Zhou ZIshu’s name is now super-interesting, eh?

Another slip-slidey point of canon here is that there are two versions of this episode. The original version didn’t have the rabbit-washing scene. That was an extra that was inserted later into a Special Version ep when Youku reached 2 million subscribers. But the Special Version is now available on Youku’s channel (it’s the one I watched for this re-watch), AND it’s the regular version that’s on Netflix. So at 25:28, we now get this adorable little scene where ZZS and WKX are cleaning two rabbits in the lake before cooking them, and WKX splashes ZZS who pretends to be irritated before splashing WKX back and running away up the riverbank, chased by WKX. It’s flirty and playful and ALSO a foreshadowing of the flashback we’re going to see in a later ep, when they play together for an afternoon as children. Wasn’t canon before. Now it is.

Anyway, even with the (bad) dubbing that we get, this is a fantastic WenZhou ep. We open with them still being menaced by the zombies Drug Men, with a lot of swordwork by ZZS before he starts flagging because of his Nails Issue, whereupon WKX instantly sobers up, goes Evil Ghost Valley Master on Imposter Hanged Ghost who’s controlling the Drug Men, kills him with his Fan of Death, then scoops up ZZS and flies him off to a lake, where he attempts to tenderly check ZZS’s pulse and take care of his wounds before ZZS slaps away his hand like an offended maiden. WKX has to give him the qi smackdown in order to hold him still to :coff: pull down his robes and suck out the poison from the Drug Men scratches on the back of his shoulder. :hands: I remember the first time around, watching this with my mouth hanging open, demanding to know the heterosexual explanation for this. (Also, if you’re rummaging on Youtube, the Five Straight Guys Watching Word of Honor for this ep is not to be missed. They’re a little questionable in their reaction to the poison sucking, but before that, they’re a bunch of squeamish babies over using the dagger to further slice open the wounds to get to the poison, and it’s HILARIOUS. They can’t even look at the screen once the dagger comes out, hiding behind their hands. I love them, more and more as the eps go on, but they are WEAK compared to even the newbiest hurt/comfort fangirl.) There’s some more back and forth between WKX and ZZS about revealing their true selves to each other, no you, no YOU. WKX makes it clear that he knows there’s something really wrong with ZZS, and then they fight, set to romantic music, and ZZS ends up falling in the lake. I do the victory arms ( \o/ ) to myself where I’m sitting on the couch and startle one of the cats, because FINALLY we’re going to get rid of that execrable fake facial hair. ZZS fucks with WKX by staying underwater long enough that WKX panics and also dives in, we get some really cheap and awful underwater effects, and ZZS reveals his face! They end up back on the edge of the lake, drying their perfectly dry outer robes, while they sit around the fire together in their perfectly dry inner robes, but I am not going to complain because y’all. I CANNOT with how smug and pleased ZZS is for just a moment about WKX mooning over how pretty he is. Then he remembers to be an ill-tempered gremlin and pokes at WKX with a flaming stick, but I had to rewind four times just to catch that little moment of satisfaction about being admired again – it’s subtle and gorgeous and Zhang Zhehan is going to kill me with his face one of these days. ZZS demands dinner on this date, and fake-coughs pitifully to get WKX to go hunt something down, while he stays and does his delightful little thinky face as he pokes at the Soul Winding Box they got from Imposter Hanged Ghost. Then we get a shot of WKX looking at ZZS before he heads off to catch some rabbits that confirms he now knows he’s really Zhou Zishu, rather than Zhou Xu.

So, we’ll get back to the Ghost and the Box in a minute, but I do want to mention that this whole ep is layered through with mini-references and thematic stuff. Imposter Hanged Ghost rings his little bell to control his Drug Men, and remember that, we’ll see that again. WKX asks if ZZS came from the Healer’s Valley when ZZS offers him an antidote to the Drug Man poison; we learn later that WKX, himself, is the one who came from the Healer’s Valley. When ZZS gets the Soul Winding Box open and finds a piece of the Glazed Armor inside (Danyang’s, taken off of Ao Laizi by Ghost Valley before he was hung at the gate of Sanbai Manor), he gives it to WKX, tells him to throw it away if he doesn’t want it. WKX says he couldn’t possibly, and that he’ll wear it because it’s his first gift from A-Xu. Compare this to the way Xie’er will wear Awful Yifu’s Glazed Armor around his neck. We also see some of the thematic and referential stuff come up in conversations that form a repeated pattern in this ep of ZZS stressing what a bad and dangerous person he is: He scoffs at the idea he’s from Healer’s Valley, and asks if he looks like someone who practices medicine; WKX responds that he looked like a professional killer (true) who was cruel in the abandoned temple (presumably while escaping Mirror Lake) and frightening to a kind-hearted man like WKX who can’t even kill a chicken (particularly amusing given the prep for New Year’s dinner in a later ep, when WKX is the only one who CAN). At the lakeside and again after ZZS hightails it away from Sanbai Manor when they spot Han Ying there (HAN YING, my beloved), WKX asks if ZZS is a fugitive, what he’s hiding from, and says that he’ll protect him – by reason, because would he kill anyone unreasonably (omg, where to even begin? How many guys have you choked out at this point)? When they’re arguing about ZZS revealing his “true” face, ZZS warns that most people who’ve seen his real appearance are dead (probably true). WKX says he’s not afraid of death (not his own, at least, we’ll see that the thing he’s afraid of is ZZS’s death). ZZS warns WKX that he’s not only sharp-tongued, he’s ruthless (true). He tells WKX that he’s murdered many people (true) and set them on fire (not unlikely, frankly) and committed many crimes (true, in a way, although they were state-sanctioned, making them legal, if morally reprehensible). This is the ZZS who put the Nails in himself, who talks to himself about what a truly awful shixiong he is, who tells Prince Jin that he’s only good as a weapon. I like how we see this at the same time that we’re starting to see the side of him that’ll preen when someone thinks he’s pretty - this is a process, and it’s subtle, not as high-drama as WKX’s, but it’s there, nonetheless.

We also formally meet Xie Wang in this ep, artfully posed and playing his pipa among the bodies – old and new – of Zhao Coffin Home. He and Changing Ghost have a bit of a slapfight over whose fault it is that Imposter Hanged Ghost, who was actually Long-Tongued Ghost, got killed and got his (Danyang’s) Glazed Armor took by WKX, when Changing Ghost stole it from Ao Laizi, put it in the Soul Winding Box and gave it to Long-Tongued Ghost specifically to deliver it to Xie Wang. Xie Wang is super cool through all of this, and I think we get a sense of how deadly he is by the way Changing Ghost backs down. So, here’s what’s falling together: Some iteration of Ghost Valley is working with Xie Wang and the Scorpion Sect, giving the Scorpions access to the Soul Winding Threads, which we saw used at the Mirror Lake massacre and in the woods outside of Sanbai Manor to kill Yu Tianjie in the last ep. Via Xie Wang, Ghost Vally has access to use of the Drug Men, which we’ve seen at the Zhao Coffin Home (so far), although we haven’t yet been told (I think) how Xie Wang got access to the potions to create Drug Men (we also know ZZS read about Drug Men in a book somewhere, and got enough info to engineer an antidote to them). Xie Wang and the Scorpions have access to Drunk Like a Dream incense, which had to come from Prince Jin’s court, having been engineered by ZZS based on a much stronger formulation. Han Ying, from Tian Chuang in Prince Jin’s court, has been seen at Sanbai Manor, Zhao Jing’s place.

Meanwhile Chengling is doing poorly, with no appetite and getting bellowed at some more by Shen Shen, who would be the worst if only I didn’t know everything I know, which makes me cringe when Zhao Jing refers to Chengling as “my son, now.” NO. RUN, Goldbean. For some more thematic and referential stuff in this ep, WKX calls Chengling a “lonely chick with no one to rely on” and tsks over the fact that he’s “surrounded by hounds smarter than foxes” now that he’s under the care of the Five Lakes Alliance. This is clearly to manipulate ZZS into thinking Chengling is better off with ZZS, but it also sounds like an awfully apt description of Zhen Yan in Ghost Valley. I’m just sayin’.

#zhou zishou #wen kexing #xie wang #zhang chengling #zhao jing #word of honor #word of honor episode reax

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into-the-afterlife · 4 years ago

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Why I Ship Johnny/Female V: Part 2

[Part 1] [Part 2]

This is Part 2 of my essay series on why I ship Johnny and female V. Back in part 1, I covered why I ship female V specifically with Johnny and not male V, as well as some thoughts on Johnny’s sexuality. This time, I’m looking at Johnny himself. (Content warning: there is some discussion of rape and how rape is handled in fiction.)

Johnny, ambiguity and age-old romantic tropes

Look, I’m just going to come out and say this: part of my interest in this ship is thirsting over Johnny. And when I’m interested in something, whether it’s an intellectual, creative or sexual interest, I like to do what I always do – analyse it to death. So what is it about the actor, the performance and the character that makes Johnny as attractive as he is?

Keanu Reeves himself, obviously, can’t be ignored here. He has a gorgeous face and voice, but crucially, he’s distinctively beautiful. Obviously, everyone has the right to be into what they’re into, and I don’t want to shame anyone for their tastes. But I do not understand people who are into the blandly beautiful. Sure, there’s nothing wrong about, let’s say, Chris Evans. But what’s right about him? Where are the snags that catch your attention and hold it? Where’s the life?

Reeves, meanwhile, is attractive because he’s unusual. He has long, dark hair, but he’s regularly photographed at public events with it mussed-up. He has a chiselled face, but his cheekbones are high enough that he looks alien. He has all the charisma of any Hollywood actor, but, whether this is him as he is or an especially well-calculated image choice, it comes off as genuine. When watching interviews with him, you feel less in the presence of a star and more an especially fascinating stranger at a party, one who, despite bursting with witticisms and stories, somehow wants to talk to you most of all.

There’s also an element of age ambiguity here. Reeves is in his fifties, and while age suits his looks better than youth did, it shows. Meanwhile, Johnny the character is in his thirties when he dies, and to match this, the animators smooth out Reeves’ face and darken his beard. They also give Johnny the (unrealistic but glorious) organic arms of a dedicated bodybuilder. So what Johnny ends up with is the presence, confidence and charisma of an older guy, combined with the physicality of someone younger. It’s potent, to say the least. It also adds to Johnny’s uncanniness as a character. He’s caught between maturity and youth, life and death, humanity and machine; he’s hard to pinpoint no matter where you look. And whether you express this academia-style, as, ‘the gothic associates uncanniness with sexuality’, or internet-style, as, ‘I’m a monster/robotfucker’, this is, as the kids say, pretty damn hot.

This uncanniness, as well as Reeves’ looks and performance, also offset some of the more unlikeable aspects of Johnny’s personality. This is best illustrated by the concept art created for Johnny before Reeves was brought on board. (Found courtesy of the lovely folks at r/LowSodiumCyberpunk.)

As you can see, they had a lot of Johnny’s look already nailed down. But this makes the differences all the more startling. This Johnny looks like he’s been dragged through the wringer. His hair is messier, and he seems to be getting premature wrinkles and balding. He’s strung-out, with a genuinely hopeless cast to his face. His look is also a lot more dated. While our Johnny has elements of the old rocker, the jean jacket, bandana, V-necked black jumper and aviators clipped to the tank top root this Johnny inescapably in 1980s music and fashion.

Why is all this relevant to shipping Johnny with V? Partially because I’m shallow, I’m not going to lie. But it’s also because making Johnny look like this would have made him much more obviously an intrusion. A guy dressed like this next to 2077’s booty shorts and space buns is like a ghost in a ballgown next to a woman in jeans. He’s not just out of time; he’s been irrevocably left behind. Johnny’s face here also has much less in the way of possibility. Where our Johnny says, ‘maybe your life would be better if you listened to me’, this Johnny screams, ‘my way is hopeless, but you can’t ignore it’. It’s leaning much more into the tragic aspects of Johnny’s character and of the genre of cyberpunk. And don’t get me wrong – I love that artwork, and think that angle would be an interesting artistic choice.

But making Johnny a tragic intrusion like this removes the element of seduction, so to speak, from his character. What makes Johnny attractive, ideologically, sexually and romantically, is a balance of certainty and uncertainty. On the surface, he’s passionately, blazingly certain of his politics, his music and himself. If you’re taking a leap of faith, whether that’s fighting against the corpos that rule your life or hopping into bed with an engram, what draws you to it is the kind of confidence that makes you doubt your own certainties. Yet too much of that can be off-putting. Nobody wants a partner who’s so cocksure (pardon the pun) that they don’t listen to what you want, and nobody wants a political ally who’s gone so far into their own rhetoric that they can’t convince those outside it.

Therefore, the common factor across all the ways Reeves’ looks impact our perception of Johnny is the balancing of two seemingly opposing things. Keep that in mind, because it only gets more relevant the deeper into this ship, and Johnny’s attractiveness, we go.

Of course, Reeves’ looks are far from the only thing he brings to the table. His acting, across body language, facial expressions and voice acting, is incredible. I want to take a look at his voice acting, as well as his voice generally, first.

I’m not familiar enough with the subtleties of American accents to pinpoint why, but Reeves’ accent sounds slightly different to the more generic accents of other famous actors. Perhaps it’s because he’s Canadian. Either way, his consonants are less harsh on the ear than other A-list actors, his vowels less elongated. He speaks slowly, sounding as if he just woke up. His voice is mellow and soothing; it’s the sort of sound you could take a bath in.

(For reference purposes, I’m listening to this Cyberpunk trailer as I write this, as well as, um, this video that I’ve watched far too many times. XD)

Obviously, to play Johnny he has to modify that laid-back aspect of his voice. But it’s interesting how his natural voice and his ‘Johnny’ voice bounce off each other. Reeves is able to pull off a much more belligerent Johnny than many actors could, precisely because of that laid-back quality his natural voice has. Think of that ‘impressive cock’ line. It’s made as funny as it is because of the total lack of shame in how Reeves delivers it. But in the mouth of an actor like, let’s say, Robert Downey Jr, that level of shamelessness would just come off as annoying. Reeves uses his natural voice to amp up Johnny’s, for lack of a better word, Chad-ness, far beyond the place another actor could manage. Because he has that base of softness, he can go hard on Johnny’s arrogance.

Why is this relevant to Johnny’s attractiveness as a character, as well as why Johnny/F!V are a fascinating ship? To develop a character well, you have to have an extremely solid base to start on – and that base is where a lot of writing and acting falls down. The audience has to know intimately what a character is usually like, or who they seem to be, before burrowing into the character further is made effective. That equal hard/soft approach means that when Johnny does soften later in the game, it seems both unexpected and inevitable. Even as the harsh tone and words were conveying one thing, that softness underneath was always conveying another. But the fact that Reeves can go hard on the arrogance makes that change much more impactful than it would be in another character. Once again, we’re seeing an equal balance of two seemingly opposing qualities, not openly leaning towards one or the other.

There’s also some aspects of the body language Reeves and the animators give to Johnny I’d like to focus in on. While I’m not an actor, nor am I a psychologist, and therefore am likely to have missed things, there were a few things I noticed when going through footage of Johnny in pivotal scenes. (If you spot something I haven’t talked about, please reply or reblog! I’d love to get a back-and-forth discussion going.)

Over and over again, Johnny’s body language has two layers. There’s what I’m calling the ‘douchebag’ layer, which is where Johnny seems insultingly relaxed. The scene when V and Johnny first meet, as well as the scene at the diner, have two great examples of this. Johnny gets into V’s space, but it’s slow, catlike. There’s no urgency when he leans in, nor when he stands over V.

Similarly, at the diner, he tells V he doesn’t want to kill her anymore – something pivotally important for their relationship and the plot - while putting his arms behind his head and his feet up on the table. It communicates, at least on the surface, a real sense of disrespect. ‘I don’t give a shit’, says his posture, ‘whether you hate and fear me or not’. His threatening slowness when they first meet, meanwhile, communicates that he doesn’t think V is a competent opponent. Why should he hurry if he can get her any time?

At least, that’s what it looks like. Take a look from 9:40 onwards here. Sure, he swings his legs up on the table – but not before hurrying into the diner booth and tapping his fingers rapidly on the table. Even when he gets into that relaxed posture, he’s bouncing his leg the entire time. Those catlike movements I talked about when they first meet? If you look from 5:42 here, they’re there. But they’re also interspersed with banging his head incessantly against the wall, pacing back and forth and glitching unpredictably all around the room.

This is where the second layer of Johnny’s body language comes in. Underneath all that casual condescension, he communicates constant, frenetic energy, even anxiety. Even in his default, idle animations, it’s extremely rarely that Johnny communicates real coolness and calm. He covers constantly racing thoughts and feelings with a slick persona.

What this does is very like the hard/soft balance of the voice acting I talked about earlier. Because the ‘douchebag’ layer of body language is the most obvious one, you pick up on that first. But the other layer is there throughout Johnny’s entire arc, and it goes into your brain on a much more subconscious level. Then, when Johnny’s guard does come down, it seems like a natural development of his character while still being a surprise. Once again, there’s that knife-edge balance between two disparate qualities. And for me, attraction always lies in the space between.

There’s also something highly sexual about the way he gets into V’s space when they first meet, the way he stands over her. When first playing the scene where they first meet, it felt like watching the moments before an act of rape. You see him first as he leans over you while you’re still in bed. He beats you to the ground, smashes your head into the window, and towers over you while you’re collapsed on the floor. Given the context of him taking over your body, the overtones are unmistakeable.

But again, crucially, that frantic body language and his lines are the complete opposite of how someone behaves when making the kind of power play that rape is. The pacing, the panicked words and the fact that he’s caught off guard all communicate disempowerment. While it’s still a violent, frightening scene, it’s not a monstrous one.

Why is that relevant to discussing Johnny’s attractiveness, and Johnny/V? Because rape fantasies and male domination are some of the oldest tropes in the book for M/F romantic arcs. Done properly, they play on desires of sexual submission without explicitly acknowledging the kink, depict the eroticism of that liminal space between humanity and monstrosity I talked about earlier and allow you to fantasise about being deeply wanted. Of course, that last bit isn’t a factual depiction of rape in real life. But in the fantasy, the story, the idea of being ravished is partially about being special, being so uniquely attractive that the guy loses all control of himself. If you have a more conservative or repressed view of your sexuality, the ravishment/rape fantasy also allows you to fantasise about sex without seeing yourself as a slut. (This post is a great look at that last idea as applied to the movie Labyrinth, if you want to find out more.)

The idea of sexualised monstrosity is also everywhere in the tropes used to characterise Johnny. He’s a troubled rockstar, an angst-ridden artist who died tragically young, a violent political rebel, part human and part supernatural creature, a charismatic, cocky, seemingly heartless guy, who just might have a heart if you look deep enough. What all these tropes have in common is the promise of both reassuring humanity and fascinating, exciting monstrosity.

Reeves’ and Johnny’s looks combine strangeness and humanity. Reeves’ voice acting moves between soaring arrogance and languid softness. Johnny’s body language combines fear and overconfidence. And the use of age-old romantic tropes in an unexpected context, as well as the use of these specific romantic tropes, knit all the effects of the other things together to create that balance between the human and the strange. He’s unusual enough to be interesting, human enough to seem real and associated with all our cultural symbolism of an attractive man. With all that going on, how could you not find him hot as hell?

But the thing about these tropes is, they’re also so common they’re clichéd. Not just in fandom, but all across Western media and art. So what lifts Johnny and Johnny/V out of being something generic? What makes them so fascinating that I’ve written thousands of words about them? What, in short, makes them different?

That’s what I’ll go into next time.

[Part 1] [Part 2]

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