#universe development: to be a phillips

[blacknedsoul-blog]

I think the Deans are fucking Lovecraftian gods

If you're a regular reader of my nonsense, you may have noticed that on more than one occasion I've referred to the Deans as "Nyarlathotep Tumblrsexymen": no, I didn't have a stroke on the keyboard, this is a reference to an entity that appears in the stories of Howard Phillip Lovecraft. A writer who is widely known because there were even people who thought that the Necronomicon, a fictional text part of his work, actually existed (and because he was such a recalcitrant racist that it has become a meme about how extremely racist he was).

And since I'm still going through my pile of papers on Gothic fiction, let me take a moment to talk about Lovecraft's work, why I have reason to believe that the Deans have something in common with these creatures, and what that might mean for the development of Nevermore.

A Little About Lovecraft's Gods

To understand a little bit about the kind of creatures we are talking about, I have to stop at a brief (seriously brief) description of cosmic horror: This is a type of horror that takes elements from the scientific publications of the time (which makes it close to science fiction) to give it verisimilitude, it has at its core a deep nihilism, the breaking of scientific canons, the fragility of the human mind and societies contrasted with the vastness of the universe, an enormous fear of "the unknown" for the white man (fed by his racist paranoia), and seasoned with tentacles and creatures that remind us of sea creatures, because Lovecraft had an enormous fear of the sea.

The gods in these stories represent, on a symbolic level, the vastness of the universe, the terror of the unknown, and the fragility of the human mind: they are entities older than time itself, contact with them tends to shatter the mind, and humanity must be very, very grateful that most of them are locked away or incapacitated in some way. Also, the way to access them is through very specific rituals that have been lost over time, so thankfully they're not very easy to contact either.

Similarities with the Deans

Let's start with the most obvious: the Deans, like the Lovecraftian gods, seem to operate in their own plane of existence, beyond what humans understand as "life" and "death": Nevermore is a kind of limbo, but we know, thanks to the Raven, that these guys came from another place and had enough power to kick the crap out of psychopomps without any problem.

However, just like Lovecraft's gods, these enormous powers don't make them able to do whatever they want; as I said, these entities are usually locked up or incapacitated in some way and can only have contact with humans under certain circumstances (like being summoned in rituals), and getting out of their prisons usually requires vague events like astral alignments that are completely out of their control.

The Deans, like Lovecraft's gods, seem to be subject to rules that are above them, and while they can bend them a bit to achieve their goals, it's not like they can do much about it.

Another thing they have in common with Lovecraft's gods is the ability to create servants that function as extensions of them to fulfill their designs. There are many creatures that follow this line in the stories that speak of The Myths, but the best known are the Shoggoth that appear in the novel At the Mountains of Madness: artificial beings created by the Old Ones to rule the Earth, described as amphibious, amorphous masses similar to amoebas.

Although the Deans prefer their minions in the form of animated dolls. I suspect this decision is based on the story The Sandman by E.T.A. Hoffman. I have no proof, but no doubt.

Now for the joke that brings this essay to life: the creature in Lovecraft's universe that most resembles the Deans is a being called Nyarlathotep. This creature belongs to the category of "Other Gods" (not the old ones like Cthulhu) and gets very nice nicknames like "Crawling Chaos".

Nyarlathotep is a being who enjoys causing chaos, death and madness wherever they go. They can communicate with humans, which they use to psychologically torture them and make them lose their minds. Something they seem to enjoy quite a bit. In the same way that the Deans view this sadistic battle royale, they have set up a fun game.

Then there is the ability to manipulate and alter the human mind, which is called into question in stories like Nyarlathotep and The Rats in the Walls (where it is apparently Nyarlathotep who messes with the protagonist's mind so that he tries to kill his friend).

This is something we've seen manifest in Nevermore in two different ways: the ability to trigger or unlock memories.

And the ability to change them. While we can't know if what was shown to Annabel is 100% real, we do know that showing her the end of her life caused a permanent change in the way she retrieves her memories: from the end backwards. If this memory is somehow altered, we also know that the Deans are capable of photoshopping people's memories.

Finally, Nyarlathotep has the ability to shape-shift, which allows them to appear as humanoids in several stories, such as The Oniric Quest of the Unknown Kadath or Dreams in the Witch's House. His human form is considered "unnatural", "strange" and "disturbing" by those who see it (remember that Lovecraft was extremely racist, so he always presents himself as a black man). As a pharaoh in the Randolph Carter cycle and as a charcoal humanoid figure in the second story cited).

Here, the human form of whatever the Deans are is also quite atypical: not only are they ridiculously tall (7 feet), they have heterochromia with a white-colored eye (which I would venture to say may be a reference to the cataract eye mentioned in the story "The Tell-Tale Heart" by Edgar Allan Poe), and their synchronized movements are amusing on paper, but possibly strange to look at for the characters.

Otherwise, there are two other entities in Lovecraft's universe whose descriptions can be loosely associated with the Deans: Yogg-Sothoth and Azathoth. Both are beings of dual nature.

The former is an entity associated with omniscience and appears in stories such as The Strange Case of Charles Dexter Ward and The Dunwich Horror. and is described as "the key and the door".

Azathoth represents omnipotence, is the center of the universe, and is described as "the beginning and the end" or "the alpha and the omega.

Implications for the comic

The fact that the Deans have elements in common with Nyarlathotep brings up an interesting point: although Nyarlathotep has far greater freedom than other beings, they is a servant of Azathoth. In other words, them powers are subservient to a more powerful being whose plans they must follow. They may amuse themselves in the process, but they is still essentially a butler.

On the other hand, the Azathoth connection might be vague, since this creature is a lobotomized god, so he can't do much. But if the reference is to Yogg-Sothoth, it gets a little more interesting, because that entity is the one who is supposed to release the original gods when the time is right.

And I don't know about you, but these references have me wondering if the Deans are working for something much more messed up than they are, or if they're using the souls of the students to bring back something much more sinister.

[scifigeneration]

Blade Runner soundtrack at 30: how Vangelis used electronic music to explore what it means to be human

by Alison Cole, Composer and Lecturer in Screen Composition, Sydney Conservatorium of Music at the University of Sydney

In June 1994 the late composer Evangelos Odysseas Papathanassiou – better known as Vangelis – released his soundtrack for the 1982 film Blade Runner. It would go on to become emblematic of his skills, with only a handful of soundtracks reaching a similar level of cult status.

Prior to this, sci-fi film scores tended to be characterised by orchestral sound palettes. For instance, John Williams’ 1991 Star Wars soundtrack leaned on the London Symphony Orchestra to communicate the vastness of a galaxy far, far away.

Vangelis, on the other hand, used an electronic approach to bring a subtlety and complexity that shifted the focus inwards. His ability to communicate deep emotion, alongside expansive philosophical concepts, was perhaps his greatest achievement with Blade Runner.

Missing pieces

Director Ridley Scott’s Blade Runner was adapted from Phillip K. Dick’s 1968 sci-fi novel Do Androids Dream of Electric Sheep? – which itself was a thoughtful examination of empathy and what it means to be human. The emotional gravitas of the original story, along with Vangelis’ accompanying timbral exploration, created an aural experience that was new to sci-fi films at the time.

Vangelis began work on the score in 1981. He received edited footage scene-by-scene on VHS tapes and created live takes in his studio with his synthesiser collection.

However, the first official soundtrack was delayed some 12 years after the film’s release, due to what was reportedly an ongoing disagreement with producers.

When it finally was released, purists viewed it as more of an album than a soundtrack. They criticised it for not having much of the music used in the original film, and for including pieces that never appeared in the film, such as Main Titles and Blush Response.

While the 2007 version (a 25th anniversary edition) included some unreleased material, parts of the original soundtrack remain unreleased even today.

A symmetry between newness and nostalgia

By emphasising longer drawn out notes, rather than thick instrumental combinations, Vangelis thoughtfully taps into the atmosphere of Scott’s visual world to create something truly unique.

Early sci-fi movies such as Forbidden Planet (1956) and The Day The Earth Stood Still (1951) often used electronic instruments developed in the early to mid-1900s, such as the theremin and the modular synthesiser. While these instruments helped augment concepts such as aliens, spaceships and robots, they did this somewhat simplistically.

A more sophisticated perspective pervades through Blade Runner, which combines film-noir instrumentation with classical, electronic, jazz and Middle Eastern music genres.

Specifically, Vangelis leverages the different sound qualities of synthesisers – such as bright and airy, thin and cold, or dark and thick – to at once capture emotion and highlight the complex ideas in the film’s narrative. In the final act, expansive synths dominate as the film reaches an intellectual and emotional climax.

While the synthesisers lend an artificial timbre to the score, the musicality simultaneously communicates life and feeling. In this way the foreign and familiar became enmeshed.

The film’s retro costuming and brutalist architecture also set up an expectation for the soundtrack. At times, the score will meaningfully go against this expectation by delving into a more nostalgic sound. The track Love Theme is a perfect example.

Innovative takes

Vangelis’ innovative use of dialogue in the soundtrack also helped to translate the complexities of the human condition. The tracks Main Titles, Blush Response, Wait for Me and Tears in Rain all feature dialogue in a way that makes them feel like a part of the film’s DNA.

The soundtrack’s arrangement was also uncommon for its time, as it mirrored the action narrative sequence. Tracks 1 through 4 are mixed as a single ongoing track. Tracks 5 through 7 are separated by silence, while tracks 8 through to 12 are also combined into a single piece. While this technique is common in electronic composition now, it was unique at the time.

The films dark, fraught and sad dystopian themes are further highlighted through collaborations with Welsh singer Mary Hopkins in Rachel’s Song, and Greek singer Demis Roussos in Tales of the Future.

Today, the Blade Runner soundtrack remains the most beloved of Vangelis’ works by his ardent fans – and it continues to commands its place in the 20th-century electronic music canon.

[marciabrady]

here are some sleeping beauty plot points/general details that i love and i would love to see more discussion around

the story team did such an incredible job with fleshing out aurora while still making her feel true to the mythos from which she was derived. in every novelization i've ever read that predates the disney film, she's only ever given one line of dialogue (something like: "what is that thing that spins so merrily?") before falling asleep. disney took that same princess and successfully expanded her into a living, breathing dynamic human who is filled with everything- ethos, pathos, everything, but is also authentic to her origins. they also did a genius job at creating a basis for why love is so revered in this tale. true love conquers all, we're told, and it's indeed what keeps aurora safe from maleficent for all these years, as it's the one thing the evil fairy can't understand. yet, the fact that the princess grew up surrounded by the love from the three fairies, which instills that care in her heart, along with the fact that she grows up in isolation, so connected to the universe around her and allowing her to be introspective enough to observe the animals about her and draw a connection to the human condition and that of the consistencies of nature is so...deep and profound and develops her and makes her an evergreen character that will always represent people, for as long as we're around, because aurora's struggle is one that speaks to everyone. she isn't just some "lovesick princess" but a character that's growing up and longs to be able to find her soul's mate and to express the love in her heart in a universe where she was socially excluded and deprived of others outside of her three guardians. as humans are tribal creatures, social inclusion is one of the main pillars of wellbeing. so to take aurora, who is already an innately romantic person, and to deprive her of that just gives all the more reason why the kiss of true love really would revive her. she isn't just some princess who grows to be fifteen or sixteen, pricks her finger, and then is awakened by a prince she never meets. she is someone who was raised in love, grows up and wants to become a woman and share that love and express it with someone else. when she finds it, it's suddenly stripped from her and she's induced into a magic slumber that's meant to symbolize her transformation from girl to woman. then, she's awakened by the same love she'd thought she lost and it's just...the structure of it is genius and incredible and they retain all of the qualities about her in the fairytale and storytelling devices but they develop it so much further and round her out so well but still maintain a reverence to her source material instead of condemning it or outright changing it and i just LOVE

i don't think enough people realized that, it wasn't until maleficent visited prince phillip in the dungeon and showed him the vision of aurora in slumber repose that he knew that aurora and briar rose were one in the same!!! like this is the moment it all clicked for him and it gave him the drive and determination to slay the dragon in her honor. he realized the woman he loved and the princess he had been betrothed to were both one and that's so important and it's just such a plot twist that, again, was so genius of the writers. it proves to us that he loves her enough to leave the kingdom for her and risk damning the princess he had been betrothed to to the curse she was under and he'd take her as she is, even if it were a peasant, but also that his love is so steadfast and true that he'd defeat a dragon for her. 10/10 and it sooo runs along the vein of the lyric "visions are seldom all they seem." this is a plot twist done RIGHT but with so much sophistication that it tends to fly under most everyone's radar because it isn't like loud

something i love about the original princess movies is how the female characters are forever in the forefront, and the fact that this film opens with the celebration of the birth of a female child is something that's so special! instead of having to think about how female children weren't celebrated in that time, or it was a disappointment she hadn't been a son, or something of the like, the fact that the spotlight is on their daughter and the opening of the film continues this matriarchy, where all in the land praise this female birth, before the fairies are introduced as their most "honored and exalted excellencies." we need to see more worlds like this instead of pixar films where there's like not a single main female character lol

THE FACT THAT PHILLIP WAS WILLING TO GIVE UP THE THRONE AND THE KINGDOM "for some nobody" and told his dad flat out to his face without hesitating makes me love him soooo much?? he loves aurora for who she is, not just because she was a princess to whom he had been betrothed to his entire life, and this proves how genuine his love is. it also paints how progressive and open-minded phillip was, seeming to be the first that would ever break the tradition of princes marrying princesses and opening up his country for a new type of culture and reign. love me a freak like that

one of the biggest facets to aurora's character, and something that further develops her relationship to phillip, is how differently she reacts to her guardians when told of the betrothal. where phillip already knows, and is aware of the king and queen and how his duty is to marry their princess daughter, aurora is just finding out that she has living parents for the first time and the future of a nation rests on her shoulders. she discovers she's to be married to a prince and must give up her true love forever. again, before i hear anything about "she just met this man for two minutes in the woods, why is she crying," this is a fairytale with magic that's meant to be archetypical. in the narrative of the film, and in the universe of this world, phillip is her true love- and this is confirmed when it is his kiss that awakens her from the curse. so to leave the one true love who was meant for you, when that's all you ever wanted in the isolation you were raised in, to accept your duty and responsibility over parents you didn't even know you had and to assume the obligations of a nation you aren't even prepared for...it's astounding. aurora does everything right, she even leaves love behind for the good of her people and puts everyone above her own personal desires, and yet people still criticize her and say she's dependent on a man and all she cares about is love. meanwhile, phillip never receives any hate, and he's literally willing to give up the throne and the kingdom and start a war between two countries for the girl "he just met in the woods for two minutes" but he's one of the most beloved princes...it really just makes me think about how misogynistic our society still is, without even realizing it. aurora literally couldn't have done anything better, by our modern standards, but people still condemn her just because? this is definitely a discussion piece i want to hear more about and, in general, i think it would behoof us all to understand why aurora has been so demeaned culturally as a character when her actions, in and of themselves, are exactly what we say we want and would appeal to modern sensibilities

this is a slight sidenote but i always was tickled by merryweather proclaiming, if she had it her way, maleficent would be turned into a "fat old hop-toad." i always felt like this was a nod to the original tale from which this movie was based on, where a magical frog tells the queen that her wish to be with child shall soon be granted and that it, just generally, was a very clever easter egg/allusion

in this film, they have enough action and movement to appease the more restless demographic/traditionally "masculine" crowd, but i love how the basis of maleficent's defeat lies still in the femininity of the three good fairies. it's these elderly women that save phillip from the dungeon and arm him, not just with weapons that will kill another being and are predicated upon violence, but with symbolic weapons that are laced with truth and virtue. i think it really reminds us all how transformative these values are and how, in arming ourselves with them, we'll alone be able to navigate the road to true love (whether that be familial, platonic, or romantic love) which will be "barred by many more dangers" and how it enables us to have a sense of autonomy where we'll be able to overcome anything that's thrown our way while still retaining the core of who we are

i wrote about this moment previously, but to piggyback off of what i wrote about phillip just above...i love how aurora is the most competent human in this world? much has been said about how the plot of sleeping beauty is essentially the fairy worlds dueling with one another and, in that, many of the mortals are somewhat...inept, to put it for lack of a better term. king stefan is unable to protect his daughter with the burning of the spinning wheels, even with all the power he harnesses within his kingdom, and the fairies are quick to see his folly. prince phillip would still be rotting in the prison had the fairies not interjected, and he would be burned to a crisp had they not sprung a final chant of magic upon his, already, enchanted sword. yet, maleficent has to hypnotize aurora for the princess to even succumb to her plan and, even then, aurora is temporarily able to snap out of the magic hypnosis she's put under. i don't think people realize how powerful that is? yes, i understand it's a minor moment, but the hesitation and the ability to counter magic while remaining totally unarmed is something that reminds me why aurora is our main character, despite what anyone else might say.

going along with what i said above, while many are quick to point out aurora's lack of screentime, the film begins with her birth, the plot is sprung forth with every character wondering what they could do to protect her, then when she pricks her finger upon the spinning wheel, she and the entire kingdom are put to sleep. it isn't until she wakes up, that the entire kingdom does, too. she holds the key to this entire universe in a persephone like way and i just love how important it is in the narrative of the film to wake her up. she isn't just this beautiful creature who's valuable because she's pretty, because if that was the case, her being a lovely figure posed to perfection in her slumbering mode would be enough...but the people of her universe value her so much more when she's alive and active and being her own person, that it ensues a fairy war, practically. she's also involved in every single plot, even if she isn't physically present. this is her movie and no one can take that away from her. but, just to restate, the fact that there's so much emphasis in aurora being alive and well is something that's so important

so, it's kind of a given at this point that every princess can sing, but i think the role that music plays in sleeping beauty is the most meaningful and well done? sleeping beauty makes much to do about its classical score and it skillfully combines realistic characters and storylines (like the fairies not knowing how to cook and clean, phillip being captured with no way out, the kings toasting to the impending nuptials of their offspring before getting into a quarrel centered around a misunderstanding) with the fantastical world of fantasy and opera. by giving aurora the gift of song, the narrative is creating a framework that explains her relationship to her singing voice in a way that's even more profound than that of ariel's connection with her singing. it explains why aurora sings more than she speaks and ties in perfectly with the thematic style of the operatic presence in sleeping beauty, which is that in the opera, instead of speaking about it, you sing.

OK but this scene of hubert's/his general plotline and character motivation that results from this is genuinely perhaps the best comedy disney's ever done? hubert is coming off of declaring war upon his best friend stefan, because he misunderstood stefan's caring for his own daughter as a snub against hubert's son. after challenging aurora's father to a duel, they quickly make up, before hubert hears phillip has arrived and rushes off to greet his son. there, the news is broken that phillip is actually in love with a peasant and that he plans to renounce the throne- which will actually cause a war- so that he can be with his beloved. hubert is convinced phillip is joking, especially as he happens to meet this mystery maiden on the date that aurora is set to come home- the most anticipated date for these past sixteen years in the kingdom- and his son is set to be a central figure in the celebration for the princess's homecoming! before he can reason with phillip, his son escapes, leaving hubert to be the one to break the news to stefan. heavy-hearted, as hubert tries to tell stefan, he keeps being interrupted by trumpets and the musical notes that are meant to accompany the princess in her debut to her country. then the fairies literally put hubert to sleep when he finally gets a chance to explain it to stefan and, when they're awoken from this fog like slumber, the first vision that greets hubert is that of his son and the princess??? the same son who said he had no interest in aurora, but was set to marry the peasant maiden. the whole thing concludes in a very charming "all's well that ends well" but i still think the whole "how am i ever going to tell stefan" dilemma, while continually being interrupted, and this king who declared war in 2 seconds flat and minced no words in being so short-tempered was suddenly at a loss for words and so hesitant and fumbling and nervous about this news his son sprung on him lol

one of the most haunting sequences in film is the one above. the three good fairies have endeared themselves to their mortal charge, even giving up their magic for her for sixteen years. their bond is so much deeper and meaningful than it would've been otherwise, as they probably would've blessed her at the christening and then only appeared in her life intermittently, at a distance. they clearly aren't close enough to humans to know too much about their customs, and their magic always gives them away as outsiders, which indicates they were always content to live in their own fairy-world. but then they give it all up for this baby, this child, and they change their entire world for her. she is their world, to the point where their sole purpose is protecting her, until that's all they can think about for close to two decades. they would do anything they could to make her happy, to give her a fighting chance at life. they're so protective over her- and the fact that they got this close to the finish line...only to leave her alone because they want to be respectful of giving her privacy as she's still reeling and processing from all the news they sprung about her at once. they were even discussing going to king stefan and attempting to convince him to let aurora out of the arranged marriage so that she could be with the boy in the woods. and this all leads to maleficent enchanting aurora to her demise. as the fairies place her in a bed for the last time, looking upon her in her princess form, all of the time they've spent with her runs through their mind. how this isn't their little briar rose anymore, but a princess who inhabits, not the woodcutter's cottage, but king stefan's castle. someone who will never be with them the way she once was ever again and who, presently, is dead for all they know. as they look upon their lost daughter, the faint chimes and musical notes of the celebration of her homecoming is heard in the distance. i could talk about this forever but it's just such a heartbreaking and sad but also eerie mood

in 2023, it's time king stefan gets his flowers. while, in the time period in which this film is set, it'd be totally realistic for a father to set his daughter up in an arranged marriage to further the prospects of his land, stefan displays an understanding that seems more contemporary than his counterpart, hubert. hubert doesn't think about prince phillip's feelings for a beat and concedes that the "children" are bound to fall in love with one another. meanwhile, stefan seems to display a much more well-rounded paternal instinct, even exemplifying a degree of care and concern for both aurora's emotional wellbeing and her consent. he urges hubert to calm down and remember that this might come as "quite a shock" to aurora and to not push all of these political arrangements upon his daughter before she's had a chance to react to them and digest them.

the duality of briar rose and princess aurora is so fascinating, but also the moments in which they overlap is more enchanting still. this is a fairytale that is meant to be archetypical, and aurora's enchanted slumber is meant to be symbolic for her transition from girlhood to womanhood. briar rose, the girl, is anxious about her future, the prospect of meeting her love and settling down and getting to the next stage of her life. she loves her guardians, but is frustrated at their inability to see and treat her as anything other than a child. she goes to sleep a scared, shy, unsure teenager and wakes up as a self-assured, mature, gracious woman- the princess aurora. she's a vision, descending the staircase on the arm of her beloved, and she paints quite the picture as she gracefully curtsies to her parents, the king and queen. yet, true to the girl from the cottage, briar rose takes over. unable to contain the love she feels, she bolts forward and rushes to embraced her lost parents. i love this because, for as calm as a character as aurora is, i've always been so mesmerized by the breathless excitement with which she speaks when she returns to the cottage. this is a girl that has more love inside her than she can contain and it renders her a beacon of light. her running into the arms of her parents, instead of resenting them for giving her up, putting her in an arranged marriage, or even pausing to question whether or not she should be so warm with these figureheads of state, is such a tender moment that i don't think i've ever heard anyone speak of.

i will never get tired of singing the praises of the three good fairies. this film placed three older, conventionally unattractive women at the forefront- without pushing forced hetero ships on any of them- and allowed them to be bad ass (ie saving phillip from the dungeon, providing him with the tools and guidance with which to defeat maleficent, coming up with all the plots and actions that propelled the plot forward), while reminding us that love and kindness is truly the most powerful force on earth and placing an emphasis on the strength and power of femininity. the entire transition, from them being business women in the kingdom essentially (this is more in modern jargon; them being the fairies who are invited to political organizations for their contributions and not knowing anything about things like cooking or cleaning or rearing a child) to learning how to raise a baby and the film ending with them beaming over the shining achievement of their assigned charge finally being safe and happy is...it's everything. how beautifully the film focuses on them and the relationship with their adopted daughter and how that's the driving goal in all of this is something that's been unable to ever be surpassed

[whencyclopedia]

William Tyndale

William Tyndale (l.c. 1494-1536) was a talented English linguist, scholar and priest who was the first to translate the Bible into English. Tyndale objected to the Catholic Church’s control of scripture in Latin and the prohibition against an English translation. His work formed the basis of all other English translations of the Bible up through the modern era.

The Latin Vulgate Bible, translated from the original by Saint Jerome (l. 347-420), assisted by Saint Paula (l. 347-404) was considered the only true version by the Church, and translation into the vernacular, in any country, was forbidden. Even before the Reformation began in 1517, however, European scholars had already translated the Bible into their own languages, the German translation by Martin Luther (l. 1483-1546) being only one among many. The proto-reformer John Wycliffe (l. 1330-1384) had translated the Bible from the Vulgate to Middle English in c. 1380 but volumes of this work had been burned after his death.

Tyndale requested permission from ecclesiastical authorities to translate the Bible from the original Hebrew and Greek but was denied. He then left for Germany where he translated and published his work on the New Testament and part of the Old Testament, along with other writings, and had them smuggled into England. Tyndale is recognized as the first to translate the Bible into English, rather than Wycliffe, because he worked from the original languages, not just the Latin translation, as Wycliffe had done.

Tyndale moved about to maintain safety after Henry VIII (r. 1509-1547) called for his arrest and was well-protected by wealthy merchants in Antwerp when he was betrayed by Henry Phillips, a man he thought was his friend, and imprisoned. He was executed by strangulation and his body burned at the stake in October 1536. Three years later, the English version of the Bible completed by his colleague Myles Coverdale (l. 1488-1569) was published in England with the king’s approval. Tyndale and Coverdale are both honored in the present day as the first to translate the Bible into English even though it is acknowledged that Coverdale largely developed Tyndale’s earlier work.

Early Life & Education

Little is known of Tyndale’s early life. He is said to have been born in the village of Stinchcombe, Gloucestershire sometime between 1491-1494 with most scholars favoring the later date. The family was of the upper class, descended from the Tyndales of Northumberland, and his brother, Edward, is recorded as holding a prominent position The family went by the name of Hychyns as well as Tyndale and William Tyndale used both alternately when young. He was educated from an early age, though the details are unknown, and was enrolled at Oxford University in 1506, receiving his Bachelor of Arts degree in 1512 and his master’s degree in 1515.

In 1512 he had also been ordained a priest and served as a subdeacon in religious services. By 1517, he was enrolled at Cambridge University and displayed a talent for learning languages, becoming fluent in French, German, Greek, Hebrew, Italian, Latin, and Spanish. Although associated with the Catholic Church as subdeacon between c. 1512-1521, he seems to have left that position to become a tutor for the children of Sir John Walsh of Gloucestershire c. 1521.

By this time, the religious and social movement that came to be known as the Protestant Reformation was underway in Germany, led by Martin Luther, and in Switzerland through the efforts of Huldrych Zwingli (l. 1484-1531). England, however, remained a Catholic country under Henry VIII who received the honorary title of 'Defender of the Faith' from the Pope for his written work condemning Luther and his teachings. In the same year that Tyndale took the position at the Walsh household, Thomas Wolsey, Cardinal Archbishop of York (l.c. 1473-1530), presided over a public burning of Luther’s works in London at St. Paul’s Cross.

Continue reading...

[blueiscoool]

Greece Reopens the 2,400-Year-Old Palace Where Alexander the Great Was Crowned

The 2,300-year-old Palace of Aigai—the largest building in classical Greece—had been under renovation for 16 years.

On the day he was crowned king of Macedonia, Alexander the Great stood atop the intricately patterned marble floors of the Palace of Aigai. This week, the historic palace finally opened to the public after a 16-year-long restoration, report Derek Gatopoulos and Costas Kantouris of the Associated Press (AP).

At 160,000 square feet, the Palace of Aigai was classical Greece’s largest structure. Built primarily by Alexander’s father, Phillip II, in the fourth century B.C.E., it was the home of the Argead dynasty, ancient Macedonia’s ruling family. It was destroyed by the Romans in 148 B.C.E. and endured a subsequent series of lootings. Renovating and excavating this sprawling monument was a serious undertaking, costing over 20 million euros ($22 million).

The Greek government was able to maintain the “general appearance” of the site amid careful alterations to the monument’s towering marble columns, delicate mosaics and textured flooring, according to Xiaofei Xu and Chris Liakos. The palace once featured large column-lined courtyards, worship sites and expansive banquet halls, and its restoration presented a “three-dimensional jigsaw puzzle,” per the AP. Archaeologists solved it by combining stones from the structure’s ruins with replica parts to reproduce the original structures.

Archaeologist Angeliki Kottaridi started working on the renovation efforts as a university student. Overseeing the project’s progress over many years and contributing to its excavation and reconstruction, Kottardi became a leading figure in the project.

“What you discover is stones scattered in the dirt, and pieces of mosaics here and there,” Kottaridi told state television before an opening ceremony on Friday, per the AP. “Then you have to assemble things, and that’s the real joy of the researcher.”

The Palace of Aigai is located in northern Greece between what are now the towns of Palatitsia and Vergina. Its reopening builds on discoveries made in the late 1970s by Greek archaeologist Manolis Andronikos, who unearthed a cluster of royal Macedonian artifacts, including gold and silver ceremonial weapons and armor, and burials, one of which is thought to contain Phillip’s remains. The palace and its neighboring tombs are now a UNESCO World Heritage site.

Deeming it “among the most important archaeological sites in Europe,” UNESCO writes that the Palace of Aigai “represents an exceptional testimony to a significant development in European civilization, at the transition from the classical city state to the imperial structure of the Hellenistic and Roman periods.”

As the site of the first capital of the ancient kingdom of Macedonia, the Palace of Aigai signifies the onset of Alexander’s rule, which would stretch from Asia to the Middle East, and provides a crucial window into Macedonian culture.

“The importance of such monuments transcends local boundaries, becoming property of all humanity,” said Kyriakos Mitsotakis, Greece’s prime minister, at the inauguration event, per CNN. “And we as the custodians of this precious cultural heritage, we must protect it, highlight it, promote it and at the same time expand the horizons revealed by each new facet.”

By Catherine Duncan.

[sophiebaek]

Meet Sophie Beckett, Bridgerton’s most elusive leading lady

It also hasn't escaped fans’ notice that, by the end of Season 3, all of the endgame love interests for the adult Bridgerton siblings – Daphne (Simon Basset), Anthony (Kate Sharma), Colin (Penelope Featherington), Eloise (Phillip Crane), and Francesca (Michaela Stirling) – have officially been cast and made an appearance on the show in some capacity…except for Benedict.

thanks to a number of factors, Sophie has become the single most elusive character in the entire show.

The secrecy surrounding Sophie became so blatant that a running joke developed amongst Benophie fans during the press tour for Season 3. Sophie was deemed the “Voldemort” of Bridgerton…given that Sophie was apparently also “[she] who must not be named”

So yes, while it was certainly exciting to read "Lady in Silver" in an official Shondaland article, it was simply not sufficient in light of the show's longstanding history of denying Sophie her rightful place in this universe.

Bridgerton has continued its habit of inexplicably keeping Sophie hidden from the world.

There is perhaps a greater discussion to be had about this long-term pattern of omitting Sophie (and now also Ha, who will be Bridgerton's third POC in a leading role, and the second WOC) from conversations surrounding this show

[rusharound]

IT’S FINALLY HERE! THE SIGMA ACAPELLA PROSHOT HAS ARRIVED!

When a non-descript University’s development plans involve the destruction of all “degenerate" and "unnecessary” clubs and societies, one Frat-star and his house of "Himbos" must team up with a "Theater Dad" and his underdog squad of the theatre department in order to save their home.

And maybe experience a little romance and kisses and whatever too. >>

Written and Produced by Annahis Basmadjian

Co-produced, Musical Direction, Associate Composition, Music and Lyrics, and Mix by Samuel Gillmore

Directed by Kate Ely

Choreographed by Selene Dublanko

Stage Managed by Emily Hoff

Associate Musical Direction by Florence Reiher

Composed by Sebastian Ochoa Mendoza

Filmography and Editing by Robert Hunt

Art by Oliver Love (@doorstoplord)

Featuring the talents of:

Nathan Mannion (Ray Rhiner)

Blake Sartin (Oliver Keaton)

Hailey Fowler (Veronica Mathers)

Katrina Teitz (Xena Zacharian)

Justin Low (Tyler)

James Penco (Chad/Brad)

Jared White (Josh)

Juliana de Medeiros (Hazel)

Sam Fraser (Westley Azuish)

Ken Tynan (Dean Guy)

Julia Halabourda (Barbara)

Garth Phillips (Adam)

Stacy Albrecht (Stacy Dawson)

Nicole Eves (Sierra Dawson)

Heller (Mayor John)

ENSEMBLE:

Kiefer Seeley, Kseniya Yemelyanova, Holly Krauchi, Viviana Renteria, Zoe Soupidis, Berfin Yildiz, Yasamin Isfahani

[amerricanartwork]

True Love Conquers All (Lilypad Essay cont.)

Ever since I realized the fairytale parallel was one of the main reasons I ship Lilypad, I've wanted to draw this, so here it is! Sig and Moon as Prince Phillip and Princess Aurora!

Actually, though, besides the drawing I'm also making this because I wanted to expand on that point from my Lilypad essay; there's still more I wanna gush about regarding the fairytale parallel!

I was too nervous to say it before, because it's derived largely from my personal tastes. However, I really wanna just write about my opinions on it now. Much of it's actually the feelings I've had about several ships before in various other fandoms, yet I've never really had the courage to express these feelings openly because I have yet to find even one person in any of these fandoms who feels the same way. However, I started thinking about it again, and I think it's about time I get it out somehow, at the very least to express these feelings in some tangible way so they don't stay bottled up forever. And maybe, just maybe, to find someone who likes these themes as much as I do!

Again, it's definitely very personal, so I don't mind if you completely disagree with all of it. But with that being said, if you want to read an additional 1,846 words on Lilypad fantasies, it's just below the cut!

To elaborate on why I love ships with fairytale parallels so much, it has to do with the poetic feeling stories like Sleeping Beauty seem to carry. I must preface that I don’t know the original fairytale, I’m pretty much entirely going off the 1959 animated Disney film, but even so I still love various themes within it and how they can be applied to other stories. Sleeping Beauty isn’t the only old Disney movie where I interpret these themes, or even the only animated story in general where these themes can be interpreted, but I think it’s overall the most similar to Lilypad specifically because of the whole “fair maiden dies and gets revived by the prince’s love” dynamic.

Something I’ve come to realize, especially upon developing a love for Rain World specifically, is that I adore stories about accepting one’s own nature and learning how to have it coexist with your personal goals rather than conflict with it. Sleeping Beauty has this not only through the eternal bond between Aurora and Phillip (I mean, “Once Upon a Dream” literally seems to be about how the singer will always love the person they fell for even if their love seemed too good to be true), but in the whole curse put on Aurora and the “true love conquers all” message. The conflict is all about how to ensure Aurora’s safety despite the impending doom of Maleficent’s curse on her, which is made more intense by how the curse can’t really be stopped, only lessened in severity. However, the inevitability of true love’s triumph over all obstacles, and really the inevitability of nature as a whole, is just so beautiful to me because it’s something so universal. As much as we may try to hide it, we humans are still animals, and still a part of nature as much as any other animal is, so the idea that forces as powerful and omnipresent as natural phenomenon could just as easily be on your side and working to help you reach your goals instead of trying to hurt you and keep you from them is very comforting specifically because of how powerful and inevitable these forces are. I mean, if forces like those can pose a seemingly impossible challenge when they seem to oppose your goals, what if they could also supply seemingly invincible support if you learned to work with them? Hence, why true love conquers all. It’s basically, “I can’t stop this thing, but maybe I don’t actually need to”. And the fact that both this and the next theme I’ll write about are present in stories which are, by this point, quite old, and can even be interpreted in newer and more recent stories just helps to further support their eternal, everlasting power by adding a sense of real-life timelessness to it all that I just find so beautiful!

Part of my love for stories like this actually comes from a specific natural force I freaking love and have been craving more of ever since I rewatched the old Disney movies and really begun to appreciate the poetic themes of them, and that force is the classic attraction between men and women. I’m not gonna get super into it now because I imagine I’ll have other chances to talk about this (again, Lilypad is far from the first ship I’ve derived this theme from, and I doubt it will be the last), but I’ll provide an intro of sorts to it here. If you’ve seen my full Lilypad essay you already know I’m a BIG fan of “inverses attract” ships, where the characters display opposite sides of the same base trait, conflict, or subject, and when they come together they help balance each other out in ways no one else can by offering each other the benefits unique to the other side of that subject. Well, simply put, if you ask me, what better example of this “inverses attract” dynamic exists in real life than the natural inverses of male and female, where the strong protectiveness and creative nurturing combine to literally create a family, from which all people come? The presence of the inverses attract dynamic is always nice to see in ships regardless of gender, but whether or not it occurs in this way specifically — that being whether or not it showcases the inverse characteristics of men and women and the positive potential when those forces combine as a team — is another major factor that, throughout my fandom experience so far, has determined which pairings I actively ship rather than just mildly smile at from time to time. (And on a side note, now that I have much more skill in art and feel more confident about my art, I figured it’s about time I start acting on that love more openly!)

So what in the WORLD does this all have to do with Lilypad?

Well, even disregarding how this very idea will basically be the major theme of my personal worm-off-the-string AU (I may elaborate on that more later because it’s just SO perfect for these particular characters and can even be interpreted in the base game to some degree), I think Lilypad, at least as I choose to imagine it, is the Rain World ship that best embodies this idea — that nature and instincts can actually help you once you simply stop fighting and accept them — more than any other in the fandom for a variety of reasons.

I’m actually going to start with how Looks to the Moon and No Significant Harassment, as strange as this may sound given who and what these characters are, actually do still display that feminine and masculine energy I love at least when I picture them, especially with Sig being confirmed as a “he” according to the wiki. It’s clear to me that Moon is very feminine (I mean, c’mon, her design in the CGs, how the moon is often associated with femininity and feminine things in real life, how she tries, even after her collapse, to connect with Five Pebbles and nurture their relationship in a very caring way, etc.), but I wanna elaborate on how part of the reason I love Sig as a character and the slag reset keys as a plot point so much is because it perfectly demonstrates that masculine protectiveness that happens in stories like Sleeping Beauty, where a man faces great trials all to rescue the fair maiden. Again, it may not have happened literally because Hunter had to deliver the slag keys, but the sentiment is the same if you ask me! And it’s always so nice to see because, again, he literally brought her back to life! How could it NOT be a sign of deep love and devotion that someone would go through so much trouble just to make sure you’re okay? 

It’s also great because I imagine the local group would have a tendency to not always take Sig seriously because he’s so careless about their purpose, so I’m sure the slag key stunt would also warrant a lot more respect for him from the other iterators. This is another thing I love seeing — both when the character everyone else overlooks finally uses their full power and their peers have to re-evaluate their impression of them, but specifically when men feel inspired to use their full power and skills to help the women they love! I love it because it demonstrates just how powerful and valuable femininity can be, shedding light on a more subtle kind of power, that being power through influence and aura rather than raw strength and stubbornness. Heck, I like to imagine wanting to protect Looks to the Moon and make sure she lasts as long as possible is a major reason why, in my AU, their physical interactions are when Sig and Moon finally begin to act on their love despite it having existed almost since Sig came online. Moon’s collapse would’ve shown both of them directly that she won’t be around forever, and if you ask Sig, someone as beautiful, kind, intelligent, noble, and all-around beloved as Looks to the Moon deserves to at least enjoy her life a little more before she fades (again), even if all the iterators falling apart is inevitable. But, coming back to what I said about nature, the inevitability of the eventual end is what makes the time they have left all the more precious!

And that’s the next part of Sleeping Beauty and fairytale-esque stories I see in Lilypad — there’s also the inevitability of this dynamic, which hits hard with Rain World iterators specifically because their whole purpose is fundamentally opposed to natural phenomena. Solving the Great Problem is, as far as I know, all about trying to escape the natural cycle of life, death, and reincarnation, and likely about escaping all natural cycles as a whole. And the iterators exist specifically to facilitate this rejection on a massive scale. So think about how poetic it would be that even they, seemingly so far detached, so far above these things, STILL fall in love and embrace these forces despite every attempt by the Ancients to prevent them from doing so! It’s made better by the fact that the iterators are machines and, even though they’re very much biomechanical ones (a big example of natural phenomena still manifesting in them despite their attempts to separate from it), one can argue they’re therefore somewhat detached from nature inherently, especially that bond between masculinity and femininity I discussed. So again, the fact it still finds a way to show up in them despite seemingly having much less reason to exist and the iterators themselves likely having much less desire to possess it just re-emphasizes how eternal it is. But once again, are they (and by extent, we the audience) sure that’s such a bad thing? 

Lilypad in an ideal scenario, to me, is of all the Rain World ships the strongest embodiment of “true love conquers all, and that’s not a bad thing after all!”

And it makes me more eager to develop my worm-off-the-string AU because I imagine that’s where their relationship really gets to flourish. Moon and Sig can finally enjoy that physical aspect of romance, and Moon in particular would, by that point, more confidently join him in rejecting the Ancients’ ascensionist philosophy. Not to mention how cute it would be to see them drawing parallels between their relationship and the love the Ancients used to feel for one another long ago, once again supporting true love as a truly timeless phenomenon. And it would branch off to not just embracing their romance that existed for so long but could never fully go anywhere, but learning to enjoy and partake in all the aspects of the world that were denied to them and that they were told to deny for who knows how long! And when it comes to not just for Sig and Moon, but the local group as a whole, what could be more poetic than that?

-.-.-.-.-.-.-.-.-

Man, a HUGE thank you to anyone who made it to the bottom of all this! To know that anyone bothered to at least consider what I have to say in this fandom is always nice, but with this in particular I greatly appreciate anyone who read it all! And again, PLEASE let me know if you agree with any of this, especially the parts about masculine-feminine teamwork. I'd love to know even one other person in one of my fandoms who's into that as well, and maybe even hear possible additions to it!

Regardless, I've gone on about this for so many words already. I hope you enjoyed the ideas, or at least the art! Thanks again for reading!

[feministsouthpark]

South Park Filler Guide - Season 2

Link for Part 1

I find the existence of filler guides quite amusing, since for some shows it makes sense (like Naruto), but for others (like Pokemon) it absolutely doesn't and they still exist. So here is an attempt to do an absolutely unnecessary one just for fun. 😅

The classifications are CANON (an episode with major storylines present), LORE (in which we get significant backstory or world building, but could be skippable)  and FILLER (completely skippable episodic storytelling, not connected to overarching story arcs)

PLS my analysis will have spoilers, if you're a first time viewer, just scroll to the bottom and read the list and only read full text if you are familiar with the content of the show already!

S2E1 Terrance and Phillip in Not Without My Anus is FILLER

This is the definition of filler, and not even a good filler, but the one that drags. The whole episode is a waste of time, and a horrible season opener if you ask me. I don't even care if Saddam Hussein dies in this one, skip it anyway, all you need to know for his next appearance is that he is already dead, which will be obvious and TBH since the movie gives a different story about his death, this one might as well take place in an alternate continuity. S2E2 Cartman's Mom is Still a Dirty Slut is CANON

We're back with the conclusion of the season 1 mystery. For now. S2E3 Ike's Wee Wee is CANON

Kyle learns the secret of his brother and he also gets a great deal of character development that makes this episode a must-watch. S2E4 Chickenlover is FILLER

A great character episode for Officer Barbrady, nontheless a filler half hour of the show. S2E5 Conjoined Fetus Lady is FILLER

One might enjoy this one for Pip. Or for Nurse Gollum. But not for its long-lasting consequences, that one is for sure. S2E6 The Mexican Staring Frog of Southern Sri Lanka is LORE

This one is debatable, and the one that I would think most people would actually debate on, since most of it is a one off story, however there is a single scene at the end with Satan and Saddam, which acts as foreshadowing for the movie, so that one scene provides context, however the movie is enjoyable without this little introduction. S2E7 City on the Edge of Forever (Flashbacks) is FILLER

Again, you can't make more specific filler content than a whole episode that is just a dream. Stan dreams that Eric dreams that Ms. Crabtree falls in love. S2E8 Summer Sucks is FILLER

I was thinking about the Mr. Twig storyline. It does build up Herbert's identity as a gay man. However looking at it, this doesn't seem like manga original content, rather, this hits every usual beat of an anime-exclusive filler arc. Edit: I know South Park is not based on a manga, it's an elaborate joke. S2E9 Chef's Chocolate Salty Balls is FILLER

Anything that gets brought up later from this episode is counted as filler content, so in the long run it doesn't matter. S2E10 Chickenpox is FILLER

Stuart and Gerald get some backstory, but otherwise the whole story is a one-off. S2E11 Roger Ebert Should Lay off the Fatty Foods is FILLER

I believe this one was expected. Nothing in this episode matters by the next. S2E12 Clubhouses is FILLER

Randy and Sharon divorce. They get back together by the end. Bebe likes Kyle. She doesn't by the end of the episode. Typical filler stuff. S2E13 Cow Days is FILLER

The Terrance and Phillip dolls never appear again. Neither does Eric believing himself to be a Vietnamese prostitute called Ming Lee have any consequences. S2E14 Chef Aid is FILLER

Herbert Garrison's filler arc with Mr. Twig comes to an end. Chef sleeps with a lot of women. End of episode. S2E15 Spookyfish is FILLER

I love this episode, but Sharon being crazy and all the paralell universe stuff are solely for this one. S2E16 Merry Christmas Charlie Manson! is FILLER

Eric now has a bunch of family members, none of which we ever see again. S2E17 Gnomes is CANON

It may come as a surprise after such a long string of fillers, but since the gnomes return and Tweek becomes a major player later, it only makes sense for this episode to be seen as fairly plot-heavy. S2E18 Prehistoric Ice Man is FILLER

Stan and Kyle get into a fight and then make up. The iceman never returns.

… SPOILER-FREE RUNDOWN

Again, CANON means you should watch it, FILLER means you can skip it, LORE is somewhere in-between, any episode with the LORE label will have an explanation that helps you decide if you should include it or not.

S2E1 Terrance and Phillip in Not Without My Anus is FILLER S2E2 Cartman's Mom is Still a Dirty Slut is CANON S2E3 Ike's Wee Wee is CANON S2E4 Chickenlover is FILLER S2E5 Conjoined Fetus Lady is FILLER S2E6 The Mexican Staring Frog of Southern Sri Lanka is LORE* S2E7 City on the Edge of Forever (Flashbacks) is FILLER S2E8 Summer Sucks is FILLER S2E9 Chef's Chocolate Salty Balls is FILLER S2E10 Chickenpox is FILLER S2E11 Roger Ebert Should Lay off the Fatty Foods is FILLER S2E12 Clubhouses is FILLER S2E13 Cow Days is FILLER S2E14 Chef Aid is FILLER S2E15 Spookyfish is FILLER S2E16 Merry Christmas Charlie Manson! is FILLER S2E17 Gnomes is CANON S2E18 Prehistoric Ice Man is FILLER *Only for its last scene if you want a tease for the movie. Personal notes: You may notice that this season is a lot less plot-heavy than the previous one, with only 3 canon episodes out of 18 compared to the 9 out of 13 in the first.

[lokiondisneyplus]

Loki season two seemed like a conclusion to an engaging character arc of one of the Marvel Cinematic Universe’s (MCU) original villains. It capped a redemption arc where the titular character finally achieved what he’s been looking for all this time, but with a twist. At PaleyFest 2024, attendees watched a screening of the season finale followed by a panel featuring the cast and creatives. Stars Tom Hiddleston, Owen Wilson, Sophia Di Martino, and executive producer and writer Eric Martin and executive producers and directors Justin Benson and Aaron Moorhead looked back at the Disney+ series.

Many anecdotes where shared including the previously reported stories of Di Martino’s special Sylvie costume that allowed easy access for feeding and pumping while filming season one. The actress used the same costume the next season because she had recently given birth again. Di Martino also retold the origins of her character working at McDonald’s in season two. When producers asked where she saw Sylvie next, she responded about fancying a burger.

Hiddleston then talked about which characters he studied while developing Loki. It’s no surprise that he drew inspiration from some well known villains including Alan Rickman’s Hans Gruber from Die Hard, Jack Nicholson’s Joker from Batman, and James Mason’s Phillip Vanddamm from North by Northwest. Much like Loki, all there were focused on control and revenge. 

In the season finale, Loki realizes what he must do in order to save his friends. Hiddleston also shared how he got into the right mindset to film his awe inspiring scene where he finds his Glorious Purpose. He went back and watched the God of Mischief’s journey throughout the MCU.

“The experience of watching it reminded me that these are not just scenes I played, but they are all chapters of my own life. It reminded me of the friendships I made and the experiences I had in different parts of the world. I was filled with such gratitude for the whole of it, for the journey.” Hiddleston continued, “I realized that in this moment, Loki is redefining his Glorious Purpose and he’s discovered it because he’s found friends that he loves and wants to care for. Loki is doing it for his friends and the people he loves. And I thought to myself, well, Tom. Do it for your friends and the people you love.”

We’ve already heard of costume designer, Christine Wada, and her magic with Sylvie’s outfit. Hiddleston discussed Wada’s approach to the final God Loki look we see in the finale. 

“It would be distinctly different from everything that had come before. All the other costumes in the MCU are elaborate and armored and detailed with embellishment almost as an expression of who he wants to project in the world. This is more humble and almost monastic. Yes, in a way he’s a king finally ascending the throne. Perhaps he’s more like a monk at the end of time. Something monastic and humble about it.”

During Loki’s moment of self sacrifice to repair the Loom, we see him grasping the various thread-like timelines and weaving them together. It’s as if he is turning these “burdens” and wrapping himself with them. Moorhead shared some insight into the scene itself.

“Loki is learning the importance of the connection between people so it’s a visual metaphor of course for the things that are most important to him, which is connection to the people at the TVA, his friends and all that. Something he didn’t have coming into season one… He’s becoming the Loom by the end of it and so we should have him physically start to become the Loom when he gets into this very humble looking God Loki.”

[sea-owl]

I have had a shitty day today.

What has put a smile on my face is your accidental marriage trope.

Tell me, what kind of a shitshow does Phillip walk in to ag his first family dinner?

How does he top the chaos with his twins?

Not going to lie, I kinda want it to end with Violet smoking a cigarette in the garage. Trying to recover

I'm sorry you had such a bad day lovley.

Let's see, I've been debating this for a while but what if the accidental marriage also happened in the Full House au. So now we got the Crane twins running wild but they're being horrible influences on their younger cousins. Meanwhile Penelope is trying to stay calm because holy shit the random man from London aka her baby daddy was also here.

The Bridgertons descend on Phillip's home so they can work out some sort of agreement for the anullment, and they're nosy. They need to see what kind of man Eloise married, even if it's only temporary. Plus, since they're trying to stay on the downlow, it would be more inconspicuous for the family to travel separately to an unknown location to the media than to one of their homes.

One by one, the Bridgertons started to show. First to show was Sophie and Benedict, who live the closest. Anthony, Kate, and Violet were next. Violet just had to scout out the new potential grand babies. She has a gut feeling this Phillip fellow and his family are gonna be around longer than what the others think, no matter what Anthony says. Daphne and Simon follow behind. Gregory and Hyacinth drove all the way from University to see this shit show, some good quality entertainment right here. Colin and Francesca are the last to arrive.

Michael can't tell who's tenser between his two friends. He can understand why Phillip is tense. The Bridgertons are a powerful family. Hell, he remembers when John first started dating Francesca how big of a deal it was. Now, here was poor Phillip who just accidentally married in on a drunken night. Penelope has a story with these people though, he can tell.

The meal itself goes well. The Bridgertons ask questions. They learn Phillip is a botanist and a part time professor. He's never been married. He's 30. Favorite color is green. His two friends live with him mainly because he doesn't know what to do with this big house he inherited, so why not let his friends live with him. Two of the four children living in the house are his. No one admits that those children are from drunken one night stands. Better to keep that quiet.

Michael and Penelope get asked questions too. More so Penelope than Michael since Michael already knows the Bridgertons.

Things start getting interesting when they discuss the plan for Eloise's and Phillip's anullment.

"We can't do the anullment right away. The media is in a frenzy right now from Eloise's posts," Anthony starts. "That being said, they'll also be in an even bigger frenzy should we do the anullment too soon or if Eloise is spotted living with one of us. Do you mind her staying here?"

Phillip looked from Michael to Penelope. While it was his house, they lived here too, and he was always fair about them getting their say. Michael shrugged, he didn't mind. Eloise could easily keep up with the kids, and it seems like she's developing a fast friendship with Penelope, too.

"That's fine," Phillip agreed. "Just as long as the children living here are kept out of the media."

Anthony nodded. If there was one thing the Bridgertons could do, it was control the narrative. If they didn't want someone to be known, they could do it. I mean, look at Francesca, no one could find anything about her online unless she shared it. "Our family would feel more comfortable if two of us could possibly check in and keep an eye on things."

Eloise raised an eyebrow. "Are you siccing a babysitter on me?"

"I'm sending damage control," Anthony shot back. "You know Colin and Francesca are some of the best at getting the media to calm down."

"Why can't it be Benedict?" Eloise questioned.

Everyone looked towards the said Bridgerton and his very pregnant wife sitting next to him.

"Very well," Eloise muttered.

"Besides," Colin said. "We'll only be checking in. Officially, Fran and I will be visiting Benedict and Sophie to help them prepare for the baby."

Michael watched Penelope tensed further as Phillip agreed to the babysitters. He really needed to get that story out of her.

Then Violet asked to see the children. "I brought some sweets for them."

Phillip and Penelope got up to go get their respective sets of twins while Eloiseled her family to the sitting. Michael follows his friends to give the Bridgertons some privacy, and he figured this was his best chance to talk to his own little family.

Once they were far enough away from the dining room and not in hearing distance of the kids, Michael pulled his friends to the side. "You two need to relax. I don't know who was tenser between the two of you. I bet if we had put some coal in your hands, we could have made diamonds."

Phillip sighed while Penelope shot Michael a dirty look.

Michael shrugged. "Hey the scary part is over. Now we get to watch Violet get the kids on a sugar high."

Phillip rubbed his temples. "Oh lord, Amanda and Oliver on sugar."

Michael laughed. "Oh, I can't wait for my nibblings' chaos. But before that," Michael turned to the short red head. "What was with you this evening? I understand why Phillip was tense. But you were just as bad."

Penelope let out her own sigh. "Do you remember the random man from London?"

"Your drunken one night stand baby daddy? Yeah, what about him?"

"He's in the sitting room."

Both boys jaws dropped. "Which one?!"

"The babysitter," Penelope answered.

Michael couldn't help himself, he really couldn't. He busted out laughing. "So let me get this straight. The Bridgertons, one of the most powerful families in the country, the same people who gave even my perfect cousin John a hard time. You," he points to Phillip, "accidentally marry one, and you," he points to Penelope, " have babies with another. All thanks to drunk nights!"

Oh this was perfect! Michael couldn't wait to see this shit show play out. Couldn't ask for better entertainment.

"Aren't you in love with Francesca? Who's the other babysitter?"

Oh now why did they have to be rude and bring that up?

[ariel-seagull-wings]

X-MEN: PRESENT

@a-roguish-gambit @thealmightyemprex @professorlehnsherr-almashy @amalthea9

@the-blue-fairie

@knivxsanddespair @acearcane

MAIN SETTING: HAVEN INSTITUTE FOR MUTANT DEVELOPMENT (EDUCATION AND OUTREACH), NEW ORLEANS

FIELD TEAM

Leader: Anna Marie Lebeau (Rogue)

Remy Etienne Lebeau (Gambit)

James Logan Howlett (Wolverine)

Ororo Iqadi Munroe (Storm)

Kevin Sidney (Morph)

Kurt Wagner (Nightcrawler)

Henry ‘Hank’ Phillip McCoy (Beast)

FAMILY AND RELATIONSHIPS

Jubilee went to live in Los Angeles to take the courses of Architecture and Graphic Design on CAL Arts in the neighboring city of Santa Clarita, and works to later expand her knowledge and career possibilities by taking the course of Game Design in the University of Southern California.

She still keeps contact with the other X-Men, has gained more experience as a fighter to defend herself and other people in danger, occasionally joins the team to help as reserve in field missions, and has found other young mutants who are going through the same situation she went of fending for themselves, taking them to live with her teammates as students of the new school they found in New Orleans.

Scott and Jean now live in Sitka, Alaska, raising their eight year old son Nathan and their two year old daughter Rachel.

Jean works as a psychologist, while Scott works as a journalist.

Happily married, Rogue and Gambit are now the content owners of three cats: Lucifer, Oliver and Fígaro.

While being officially married to each other, Ororo and Logan also have an open polyamorous relationship with Kurt and Morph. They intend to have a child together in the future, but for now they focus on enjoying each other’s love.

Hank has reunited with Carly, and the two are now happily married and expecting twins (future godchildren of the other X-Men team members), which makes his role in the battlefield smaller compared to his other teammates since he wishes to be a present husband and father. Nowadays Hank mainly helps his friends from home as a technology expert.

[dragoneyes618]

The major lesson that reviewer Christine Rosen extracts from Rob Henderson’s new memoir, Troubled: A Memoir of Foster Care, Family, and Social Class, is: “The people who control a great deal of our cultural and political conversations are a rarified elite with little understanding of how most people live their lives.” (I have not yet read Troubled, though I’m eager to do so. What follows draws primarily on Rosen’s review in the Free Beacon and on Henderson’s op-ed in the Wall Street Journal.)

To comprehend the gap between those elites and the vast majority of Americans, consider a recent Rasmussen survey of what the authors call “elites” — more than one post-graduate degree, an annual income of $150,000 — and a subset of those “elites,” who attended an Ivy League school, or another elite private school, such as Stanford or University of Chicago, whom Rasmussen dubs “super-elites.”

Three-quarters of the elites and nearly 90 percent of the super elites describe their personal incomes as on the upswing, while almost none describe their incomes as on the decline. For all Americans, however, nearly twice as many view their income as worsening as view their financial situation as improving — 40 percent to 20 percent.

Despite having eventually made it to Yale as an undergraduate in his mid-twenties and later earning a PhD in psychology at Cambridge University, Henderson most certainly did not stem from the elite class from which so many of his classmates came. Students at Yale from families in the upper 1 percent of wealth are more numerous than those from the bottom 60 percent.

One of Henderson’s Yale classmates, who had attended Phillips Exeter Academy, America’s top prep school, once lectured Henderson on his white privilege — even though he is actually half Asian and half Hispanic. Yet it would take a certain obliviousness to label Henderson a child of privilege. One of his earliest memories is of his drug-addict mother being pulled away from him in handcuffs and hauled off to jail, when he was three. He never knew his father.

After that, he was shuttled between various foster homes, none of them stable, until he joined the US Air Force after high school. The discipline of the military helped him overcome some of the chaos that had characterized his life until then. But many of the old demons remained, including his penchant for self-medicating with alcohol, and he ended up in a detox program, where a talented therapist helped him work through some of those demons.

One of the central messages of Henderson’s memoir is that a non-stable childhood family life is not just bad because it hurts your chances of getting into an elite college or attaining a high-paying job later in life, but also because those raised in such an environment experience “pain that etches itself into their bodies and brains and propels them to do things in the pursuit of relief that often inflict even more harm.”

Given their difference in backgrounds, Henderson found many of the social rituals of his classmates incomprehensible. One example was when the Yale campus erupted in hysteria over an email from Erika Christakis to the students of Silliman residential college, of which she served as co-master with her husband Nicholas, suggesting that they were old enough to work out themselves which Halloween costumes to wear, without asking the administration to issue an elaborate set of rules to avoid “microaggressions” or “cultural appropriation” — e.g., a white student wearing a sombrero. After the childhood and teenage years he experienced, a fellow student in a sombrero did not seem like such a big deal to Henderson.

Erika was eventually force to resign her position in Silliman and on the Yale faculty, much to Henderson’s disappointment, as he had been eager to take her course on early childhood development. Meanwhile, the black undergraduate who confronted Nicholas Christakis in the Silliman courtyard, in an expletive-laden tirade, in front of a group of students cheering her on, was given an award for extracurricular excellence at the next Yale graduation.

Henderson offers an invaluable term to describe the opinions expressed so fiercely and with no tolerance of opposing views by his fellow undergrads: “luxury beliefs.” Luxury beliefs, as Henderson defines them, “confer status on the upper class at little cost, while often inflicting costs on the lower classes.” The conspicuous displays of wealth and leisure activities that broadcast elite status in Thorstein Veblen’s time have been replaced by opinions and beliefs that give proof of one’s elite education. After all, Henderson notes ironically, how many non-Ivy-League-educated Americans can easily toss off terms like “cisgender” or “heteronormative”?

Mantras such as “defund the police” are luxury beliefs because their impact on those living in gated communities or the most affluent neighborhoods is likely to be negligible. Henderson comments about the policies implemented to combat white privilege, “It won’t be Yale graduates who are harmed. Poor white people will bear the brunt.”

He recounts the story of a refugee from the North Korean police state, attending Columbia University, who raised concerns about the anti-free speech movement on campus, only to be taunted with “Go back to Pyongyang” on a social media site for Ivy League students. Normally, nothing will earn faster exile to social media purgatory than telling an immigrant, “Go back to where you came from,” but this particular refugee was deemed deserving of insult, writes Henderson, because she “undermined these people’s view of themselves as morally righteous.”

Incidentally, I would rank as near the top of “luxury beliefs” the familiar chants about Israeli genocide and apartheid. They cost their proponents nothing, yet effectively broadcast one’s moral righteousness and humanity, not to mention elite education, especially when terms like settler-colonialism and intersectionality are thrown into the mix.

Henderson is primarily concerned with the way that bad ideas — e.g., dismissal of matrimony and monogamy as passé, decriminalization of drugs — filter downstream in the culture, where they wreak havoc. As Charles Murray thoroughly documents in Breaking Apart, rates of marriage, children living in two-parent homes, and attendance at religious services have remained more or less constant in the most affluent quintile of the population, while plummeting in the lower quintiles. But on elite campuses, marriage is more likely to be portrayed as a prison for women, just as the same students for whom the words “capitalist oppression” roll trippingly off their tongues can be found the same day lining up for interviews with Goldman Sachs.

But the danger posed by the holders of luxury beliefs lies not only in their pernicious cultural influence. Holders of those views are quite comfortable with the use of coercion to advance their beliefs. Four-fifths of the super elites, interviewed in the Rasmussen poll cited above, would ban gas-powered cars. Just under 90 percent support strict rationing of meat, gas, and electricity, and 70 percent would ban all nonessential air travel.

The impact of these restrictions on the most affluent would likely be relatively small. They can afford electric cars, and would buy carbon offsets to circumvent some of the most onerous rationing or purchase them on the black market. And dollars to donuts that their air travel would be deemed necessary. The impact of such policies on the less affluent doesn’t figure into their calculations.

Elite campuses have been focal points for the limitations on free speech, and over half of the super elites educated on those campuses describe Americans as possessing too much freedom. That goes with a general contempt for markets, which allocate equal weight to the choices of the unenlightened and the enlightened.

That concern with “too much” freedom goes together with a remarkable trust in government among 70 percent of the elites and 90 percent of the super elites. Government is beneficent, in their eyes, because it can force people to do what the enlightened have determined is good. The elites know that their hands will be on the levers of coercion, particularly administrative agencies. (I would wager that the majority of those lower-level staffers staging mini-rebellions in the White House and the State Department over American support for Israel’s war on Hamas are holders of elite credentials.) Ronald Reagan’s quip, “The nine most terrifying words in the English language are, ‘I’m from the government, and I’m here to help,’ ” does not resonate with the elites.

Sixty years before Rob Henderson first stepped onto the Yale campus, another man already in his mid-twenties entered Harvard as an undergraduate. Like Henderson, Thomas Sowell came from a deprived background and served in the military before entering college. He was born in the Jim-Crow-era South, in a home without electricity, and served in the Marines during the Korean War, after dropping out of high school.

The 1969 black student riots at Cornell, where Sowell was an economics professor, and subsequent pressure at UCLA to lower his standards for students, soured Sowell on academia, which he left for a position as senior fellow at the Hoover Institution almost half a century ago.

Over 50 years and almost 40 books, most still in print and many of them standard texts in economics, and ten volumes of collected columns, Sowell has leveled a sustained critique at the dominant intellectual doctrines of our day, in particular those of his fellow black intellectuals, whom he views as having spectacularly failed the black masses by advocating for policies that may serve their interests but not those of the large majority of American blacks. (Only about one-third of his writing concerns issues of race, and he has penned classic works in intellectual, social, and economic history.) Jason Riley’s intellectual biography of Sowell is appropriately titled Maverick.

In a short new work, Social Justice Fallacies, which I would commend to every college student and social justice warrior, Sowell fleshes out many of Henderson’s observations, including the detachment of elite theorists from the lives of those whom they purport to advocate, and their sometimes subtle, sometimes not, contempt for those whom they view as their inferiors.

The second chapter compares the Progressive movement of the early decades of the 20th century to present-day progressives. At first glance, it would appear that little connects the two groups, apart from their position on the political left of their day. A strong streak of racial determinism characterized the early progressives, and many of their leading lights fretted about the disastrous impact of an influx of people of inferior races to America. By contrast, today’s progressives start from the premise that there are no differences between races and that all differential outcomes are a result of systemic racism.

In the earlier period, Professor Edward Ross, the chairman of the American Sociological Society, warned that America was headed toward “race suicide” by virtue of being inundated by people of “inferior types.” American universities and colleges taught hundreds of courses in eugenics, defined as the reduction or prevention of the survival of people considered genetically inferior. The most famous economist of the 20th century, John Maynard Keynes, was founder of the Eugenics Society at Cambridge.

Irving Fisher of Yale, the leading monetary economist of the period, advocated for the isolation or sterilization of those inferior types. Or as Justice Oliver Wendell Holmes put it, “Three generations of idiots are enough.” Sowell remarks upon how casually Fisher spoke of imprisonment of those who had committed no crime and the denial of normal life to all regarded as inferior. Not by accident did Hitler yemach shemo term a work on eugenics by Madison Grant, a leading conservationist and advocate for national parks and the protection of endangered species, his Bible.

At first glance, today’s progressives could not seem further removed from their namesakes. They are the opposite of racial determinists. In the modern progressive creed, all differences in outcomes between people of different races can have one and only one explanation: discrimination by the majority group.

Despite the opposite views on race, Sowell finds important continuities between the progressive movement of the early 20th century and that of today. Today’s progressives share, according to Sowell, their predecessors’ aversion to confronting empirical evidence that challenges their fixed verities, and a similar inclination to respond to empirical challenges with ad hominem insults — racist being the most powerful — rather than with counter-arguments and evidence.

And they are similarly inclined to use government power to coerce the less enlightened to behave in accord with their “expert” opinions, and too frequently oblivious to or unconcerned with the impact of their policy prescriptions on those constituting the “lower orders,” in their minds.

Woodrow Wilson, perhaps the leading figure of the Progressive era, served as president of Princeton before being elected president. Like many of his fellow progressives, he was an unabashed racist who insisted that black employees in government offices be physically segregated.

But what joins him to present-day progressives is his enormous confidence in government by experts. He presided over a massive expansion of the federal government and the creation of many of the largest administrative agencies, run by “experts.” He viewed the Constitution as outmoded for a modern age. But not to worry, government agencies headed by experts would usher in a “new freedom,” albeit not quite the freedom of a constitution limiting the power of government and enshrining individual rights.

Today, DEI bureaucracies on almost every campus seek to enforce right-thinking and enter into every aspect of university governance, including faculty hiring. Those mushrooming bureaucracies account for a large part in the explosion in higher education costs.

Sowell takes aim at the racial theories of the early progressives and contemporary ones alike. He seeks to empirically refute the claim that each race has a different “ceiling” for intelligence. (If anecdotes were data, his own genius would serve as refutation.) He met with and debated Professor Albert Jensen, one of the leading modern proponents of that view.

Sowell argues that environment, not inherent ceilings, underlies much of the difference in IQ between races. For instance, those raised in the Hebrides Isles and the hill country of Kentucky, though of pure Anglo-Saxon stock, have IQs comparable to American blacks. And like American blacks, their IQs tend to decline from childhood to adulthood. Social isolation appears to be the key. Sowell cites another study that blacks raised by white adoptive parents had IQs six points above the national average.

As an amusing example of the fallibility of IQ tests as measures of inherent capabilities, Sowell quotes Carl Brigham, who developed the SAT test. Brigham claimed on the basis of army mental tests administered in World War I that the myth that Jews are on average highly intelligent had been refuted. At least he had the good grace to admit by 1930, as Jews excelled on standardized tests, that his earlier conclusions had been without merit, and had failed to take into account that most immigrant children were raised in non-English-speaking homes.

Sowell is equally effective skewering the present-day progressive belief that all differences in outcomes are explained as products of racial discrimination. He chafes at the resultant cult of victimization that stands in the way of examination of cultural behavioral factors that prevent black advancement.

He insists that behaviors count and explain a great deal of the differences in income levels between different racial groups. For instance, black married couples have experienced poverty rates of less than 10 percent for decades, which is less than the national poverty rate for all families. And black married couples have higher income levels than white single-parent families. The problem is that black marriage rates overall are lower.

It is often said that the high illegitimacy rate in the black community is attributable to the “legacy of slavery.” But for nearly a century after slavery, the rates were relatively low. In 1940, they were one-quarter of what they are today. Sowell suggests that the rapid expansion of the welfare state in the 1960s explains much of that rise, as births to single mothers have also risen rapidly in Sweden, the welfare paradise, where there is no legacy of slavery.

Evidence cited to show discrimination against black children by “white supremacists” — e.g., discipline rates two and a half times those of white students — proves the opposite, Sowell suggests. For white students are themselves twice as likely to be disciplined as Asian students. Perhaps, then, disruptive behavior, rather than discrimination, explains differential rates of discipline. To get rid of school discipline in the name of equity leads to schools in which it is impossible to learn, and ends up harming black students, he argues. Attacks on discriminatory school discipline is thus another one of those “luxury beliefs,” like defunding the police.

One of the major causes of the burst housing bubble of 2007, which Sowell predicted, was government pressure on lenders to greatly reduce credit requirements for mortgages. The regulators’ theory was that blacks were being discriminated against in the mortgage market, as evidenced by the higher rate of rejection for black mortgage applicants. The only problem with the discrimination hypothesis, Sowell shows, was that black-owned banks rejected black mortgage applicants at even higher rates.

The hypothesis that different income levels are exclusively a function of discrimination founders on the fact that other minority groups — e.g., Asians — have, on average, incomes well above the medium national income, and dark-skinned Asian Indians earn on average $39,000 more per annum than full-time, year-round white workers.

The victimization narrative, in Sowell’s eyes, is not only unhelpful but damaging to blacks, as it shifts the focus from one of encouraging the types of behaviors that are associated with success. In the immediate wake of slavery, and for nearly a century afterwards, almost all graduates of all-black Dunbar High in Washington, D.C., went on to college. Black and Hispanic kids in New York City charter schools are six times as likely to pass city math proficiency exams as their counterparts in the regular public schools. Why? Sowell wants to know.

Focusing on the behaviors that foster success rather than wallowing in a narrative of discrimination — which he personally experienced in his younger years and does not deny still exists today — is for Sowell the key to black advancement. And that requires more empirical study and less airy theorizing.

Many of the panaceas that derive from au courant theories have been conclusively refuted on the ground. Black political power in most of America’s largest cities, for instance, has done little to change the lives of the vast majority of black citizens. And affirmative action has, in Sowell’s view, reinforced stereotypes of black inferiority, among whites and, even worse, among blacks themselves, while doing little to help inner city blacks.

Without a clear-eyed attention to empirical evidence and an openness to debate based on facts and logic, in Sowell’s terminology, we are forever consigned to the realm of “luxury beliefs.”

[littlereyofsunlight]

I'm late!

Sorry, @doctorhelena for the belated Steggy Secret Santa gift! I'm still working on the rest, but I've got the beginning polished up and ready to share ...

I loved receiving your letter to @steggyfanevents/Santa: "here are some general ideas of things I particularly like (applicable to either fanfic or fanart!): - stories (or fanart) set during the war - AUs with Steve present during the Agent Carter timeframe - AUs in general - friendship and found family - secret relationships, but also Peggy and Steve getting teased about each other - shared adventure, working together to achieve a goal - banter - Peggy being badass and Steve loving it - hijinks and terrible ideas - the Howling Commandos, Howard, Phillips, the Jarvises, Angie, Rose, Natasha, Bucky, Sam, Tony, Pepper, Thor - Bernard Stark, Howard's flamingo"

I had a lot of fun pulling a few of these elements together to come up with this story. Hope you enjoy!

Peggy bit the inside of her cheek as they arrived at Howard’s Beverly Hills home. He'd assured them of their privacy when he’d offered this house as a place to lay low while the news of Steve’s return blew over. It was their best option—she just hoped this really was the place to wait it out.

The driver handed over their bags to Steve, who took them with a warm smile, despite his obvious exhaustion. Peggy noted the way weariness seemed to have settled into the laugh lines at his eyes, the crease on his forehead that never quite went away now, the perpetual, if slight, downturn his mouth had. She shook herself from her reverie, reminding her wandering, maudlin thoughts that she’d never thought she’d get to see his face again, let alone watch him age. 

She rubbed at the simple band on her left ring finger. While Steve’s miraculous return had certainly caused a stir, it was the news of the wedding that had turned the press rabid.

Peggy looked at Steve. Steve looked at Peggy. There was, not for the first time since he’d returned, the feeling of uncomfortable tension between them. “Well,” Steve said, his voice congenial, “I’m fifty-percent convinced he’s not going to out us.”

Peggy nodded. “I might go as high as seventy-five percent, just knowing how well Howard pays.” 

“He sure is doing us some favor.” Peggy found his tone inscrutable. This was a new development, since his return. The small lines on his face and, sometimes, the wrong-footed feeling that Steve was referencing something from where—when—he came from.

She shifted her purse strap higher on her shoulder. The California sun was hot, and Steve’s suit hadn't fared well on the transcontinental flight. She didn’t feel particularly fresh, herself. “Shall we go in?”

He inclined his head. “I take it you know the way.”

Biting back the sharp retort that flew into her head—this wasn’t the same callow Steve who’d suggested fondue was some kind of lewd act, after all—Peggy was acutely aware of Steve behind her as she strode up the front walk to Howard’s ridiculous mansion. The lawn was just as green and well-manicured as when she’d last been, two years ago. Peggy supposed Howard thought stuccoed walls and wrought iron details made the place stately, but she’d always found it cozy, despite its size. And of course, the pool made it especially appealing. She looked back at Steve—at her new husband—and thought idly of just how secluded the pool really was. She felt a flush come over her that she couldn’t blame entirely on the heat.

“Howard played host when I was here working a case with …” She fumbled for words as she reached the front door and dug into her purse for the key Jarvis had arranged to have messengered to her back in D.C. “Ahem, well … there was a scientist, I’m not sure I’ve had the chance to tell you about this one.” 

Peggy’s mind raced. What exactly was she going to tell him in this moment about the escapade with Whitney Frost? Her flirtation with Jason Wilkes? Her dalliance with Daniel? Not exactly honeymoon talk. “Well, another time,” she finished inadequately, feeling suddenly quite tired. Opening the door, she stepped inside. The heat of the day hadn’t touched the cool tile entryway, and she sighed in relief. Peggy ushered Steve in after her and, with a final look back at the expanse of lawn and the eight-foot wall beyond it that encircled the property, she firmly shut the door and locked it.

“Alone at last,” she said, with a genuine smile for her new husband.

***

Steve took in the immaculate Spanish Colonial Revival details of Howard’s house. He’d visited Tony’s home in Malibu, once, before he rebuilt it. The setting had been spectacular, and the house had certainly gone out of its way to provide unobstructed views of the ocean, but all that glass and space had left it feeling empty. 

Now, Steve wondered if it had been a reaction to this place and to Howard’s preferred style. There was dark, ornate woodwork, plush, heavy furniture and warm colors everywhere Steve’s eye landed. Light spilled into the vestibule from arched windows stretching above the front door. The tiles were an inviting orange, with a Moroccan motif bordering the floor. A staircase of dark risers and wrought iron lead, Steve presumed, to the bedrooms on the second floor. Beyond the stairs was a hallway into the back of the house, and to the left of the foyer Steve saw a study filled with bookcases and leather club chairs. 

He suddenly became aware of Peggy’s eyes on him, her expression expectant. “Nice place,” he observed blandly. She raised an eyebrow, and he noticed, not for the first time today, how impeccably turned out she was. Her honeymoon suit crisply pressed, hat set just so, red, red lipstick looking freshly applied even with the transcontinental flight they’d boarded that morning. Steve knew his jacket was creased to hell and his collar had lost its starch—he was out of practice keeping his clothes up to this time’s standards, that was very clear. 

And, he realized through his musings, there was a frown beginning on his wife’s incredibly beautiful face.

Steve reached out a hand, pulled her in close. “Did you say something about being alone?”

He was relieved when she melted against him immediately, her hand coming up to cup his cheek. “One hears that’s how newlyweds are supposed to spend their time, alone together,” she teased, her eyes soft as she looked at him. He’d been flagging on the drive from the airport, looking forward to a nap when they arrived. But now he couldn’t resist kissing her, pressing her fully against him, reveling in how her lush curves fit against his body. 

“Good thing I cleared my schedule,” he murmured as they broke apart. She removed her hat and set it down on a table just to the side of the door. He let his hand roam down her shapely backside, knowing there were layers of nylon slip and girdle beneath the lightweight wool of her skirt. Maybe a nap could wait. Would she let him peel her out of each layer slowly this time? 

Peggy rewarded him with a laugh before she leaned up to kiss him again. “I have a few items to add to your itinerary, darling.”  

He wasn’t sure how long they spent, pressed against the door. Long enough for the shadows to change, lengthening over the stairs. Peggy’s stomach rumbled and Steve laughed. “Some things never change,” he said, a smirk on his face. 

“Do people in the future not require nourishment at regular intervals?” Peggy quipped, smoothing her skirt back down. “If I’m hungry, I know you’re famished,” she said.

Steve dragged her hem back up a few inches. “I could eat.”

Peggy arched an eyebrow at him, her hand around his wrist. “Focus, darling.”

“I would be very focused.” He saw how her eyes darkened and her breath came just a bit quicker. He brushed the tips of his fingers against her thigh, keeping his touch light. 

Her grip tightened and she exhaled. “Steve.”

He angled his head and let his lips graze the shell of her ear. “Peg.”

She sighed again, turning her head to kiss him firmly. “Lunch first.” She punctuated the imperative with a quick nip at his bottom lip. 

“Is that an order?” he teased, chasing her lips as she pulled away.

Her eyes sparked at him as she put both hands on his chest. “It is indeed, Captain.” She stepped back out of his arms. “But if you find us provisions, you have leave to resume your mission after your wife’s been satisfied.”

Heat spread through his chest at that word. His wife. He couldn’t keep the goofy smile from taking over his face, even as he sassed back at her, “I’ve been trying to satisfy my wife this whole time, Mrs. Rogers.”

Peggy laughed as she took up her small suitcase, shaking her head with a smile that echoed his. “I’ll go freshen up. The kitchen’s back through there, and I expect Ana Jarvis will have left plenty in the larder.” 

“Ma’am, yes ma’am.” He resisted the urge to pinch himself as he watched her walk up the stairs. All the ways he’d struggled with the decision to find her, after everything that had happened to him—he’d nearly talked himself out of even trying to have this a dozen times. But somehow, Steve was here, with Peggy, and everything felt so right. 

Even if they were technically on the run from the press.

Steve ventured to the back of the house, where the well-appointed kitchen was indeed stocked with food. Steve couldn’t remember if he’d ever learned when frozen french fries had been invented, but apparently it was before 1949. There was a box of those plus a few cans of Minute Maid concentrate in the freezer, along with a wealth of tupperware, all labeled in neat Palmer script with the contents and instructions for thawing and reheating. Steve whistled at the display and selected a stew to thaw for dinner later that evening. 

There was a note taped to the fridge, and Steve scanned it quickly.

Peggy, my dear—

I’m desolate that I cannot offer you my heartfelt congratulations in person, and that my inspection of your illustrious gentleman will have to wait until Edwin and I return from our visit. Please help yourself to anything; I have arranged for more groceries to be delivered on Tuesday. 

E says I must warn you that Bernard is suffering from some tropical malaise. But as sardines seem to cheer him up, I admit to being skeptical of my husband’s theory.

Affectionately yours,

Ana

Steve couldn’t remember who Bernard was supposed to be. But Howard had assured them both that his staff would give them their privacy while they stayed at his home, so Steve assumed the fellow would have to get his sardines elsewhere. 

In the fridge, Steve found basic sandwich supplies. For his part, he was still a tiny bit sad that sriracha wasn’t yet a staple in American cupboards. Thinking of sriracha made him think of being on the run with Sam and Nat. Instead of shoving the memory aside, he let it wash over him. Two years of running that grief group had been good for many things, of course. But certainly, an unintended benefit was how it had prepared him to leave it all behind and return to Peggy. 

Steve took the stairs two at a time, balancing the sandwiches, two glasses of water and a package of Oreos in his hands. He found Peggy down the wide hall, in a spacious bedroom with a private attached bathroom and a Juliet balcony overlooking Howard’s tree-filled side yard. She was still occupied in the bathroom, so Steve set down the food on one of the nightstands and pulled the inner lace curtains closed over the inset windows in the balcony doors, leaving the heavy velvet drapes open. The diffuse afternoon light that filtered through turned the room a cozy orange. By the time Peggy was done, he’d unpacked their suitcases into the closet and dresser provided, and stowed the bags underneath the giant four-poster bed. 

She’d changed out of her suit entirely and had on her robe, her hair unpinned and falling softly to her shoulders in mahogany waves. “Sandwiches!” she said, and clambered up onto the bed beside him. 

“Oreos, too,” he pointed out, delighted at her excitement over his extremely basic offering. “You were right about Mrs. Jarvis keeping the kitchen stocked. Which reminds me,” he fished the note out of his trousers pocket, “she left this for you.”

***

Peggy read the note quickly, mouth full of roast beef, and then tucked it under the water on the nightstand. Ana must have dictated it, as it wasn’t in her handwriting and she and Jarvis were on a trip to Europe, visiting cousins of Ana’s who had settled in the Netherlands after the war. 

Steve had eaten a sandwich of his own, as well as several chocolate biscuits, and then he’d gotten up to hang his own suit and change into pajama pants as Peggy finished her own meal. Though it was three hours later by her internal clock, Peggy felt a bit of a thrill to be in her nightclothes in the daylight. She watched as the muscles beneath his white undershirt flexed with his movements, his physique somehow even more impressive now than when he’d first gone through the transformation of Project Rebirth. Peggy was grateful for all that had transpired to bring Steve back to her. She was grateful that the man he was now was with her in this time. She felt suddenly such a swell of overpowering love for him, she was happy to be sitting down as it hit. “Steve,” she managed, hearing the emotion thick in her voice.

He turned back to her, concern clear on his face. “Peg?”

She shook her head, smiling through the rush of feeling. She aimed for sultry when she spoke and tossed her hair behind her shoulders. “You have leave to resume your mission at your leisure.” She toyed with the tie on her robe. 

Immediately, his eyes darkened and the concerned dip of his brows smoothed over. A hint of a smile played at the corner of his mouth. “Is that so?” Peggy nodded, unknotting her robe so she could let the neckline fall open. As Steve realized she had nothing on underneath, she watched his breath deepen and his hands clench at the suit he still held. “Remind me where we were?” he teased.

Peggy licked her lips eagerly. “I seem to recall you promised satisfaction.”

Steve tossed the suit behind him, ensuring it would truly need a thorough pressing before he could wear it again. He prowled back towards the bed. “Did you have anything particular in mind?—”

Before Steve had even finished the question, there was a loud crash on the balcony, accompanied by a sound Peggy could only describe as a goose attacking a chalkboard. Steve immediately closed the distance between them, pulling Peggy off the bed and positioning her behind him. The sound came again, this time accompanied by some shuffling and … flapping? 

Peggy slapped a hand to her forehead. “Bernard!”

[kemetic-dreams]

Lucien Victor Alexis (1887-1981)

Not very much is known of Lucien Alexis’ early childhood in New Orleans, but what is known are the achievements he would make in later years to come. Born on July 8, 1887 to Louis Victor and Alice Saucier Alexis, he was educated in the local schools where he excelled academically. Alexis was determined to attend Harvard University. Not having the finances to do so, he began working in 1907(at the age of twenty) as a railway mail clerk, saving for the education he so desperately desired.

By the time he reached twenty-seven, he had set aside enough money for four years of college. He applied and was accepted at Harvard but was asked to attend (for one year) Phillips Exeter Academy in New Hampshire, a prestigious preparatory high school. While at Exeter, he lived in the home of Mr. H.F. Quimby and soon developed a keen interest in foreign languages and the sciences. By now he had only enough money for three years upon entering Harvard, so he managed by graduating “cum laude” a year early (1917). It was there, at Harvard, that he earned the nickname: “The Negro Einstein.”

That same year, Alexis entered Officers’ Training School in Des Moines, Iowa and was commissioned as a 1st lieutenant and assigned to the 367th Infantry on October 15, 1917. World War I was raging in Europe and Alexis sailed for service in France on June, 1918. Two months before departing, Alexis married Rita Holt in Gulfport, Mississippi and together they would have one son, Lucien Victor Alexis Jr.

Upon returning to New Orleans, Alexis took up the profession of teaching. He was assigned to McCarthy Elementary in 1921 and appointed Assistant Principal in 1923 at Willow Elementary. But his greatest reward came in 1926 when he became principal of McDonogh #35, the only public high school opened for the education of colored students in the city of New Orleans. For the next nearly 30 years, he would leave an indelible mark on this institution which is still being echoed by many of his formal students up to the present day.

“It was not unusual to spot our principal walking up and down the corridors of the Rampart Street School reading scientific works printed in German. Noted for his mastery of Latin, he often found time to instruct advanced classes in the subject.” (Class of 1936)

Other graduates affectionately tell stories of his successful administration but also his dreadful “army”. Being a former military man, Lucien was said to be strict but fair as well as famous for his method of disciplining students. Students who violated his dress or discipline code were forced to join Alexis’ “army” and ordered to march up and down the second floor of the school building.

Respect for Mr. Alexis soon extended beyond the school grounds and into the community. Since McDonogh #35 was located on South Rampart and Girod Streets, the students had to pass through a neighborhood of sleazy bars, houses of prostitution and various other vices. Often the girls were meddled by men on the way going and coming from school. Fortunately, once it was known that you were an “Alexis” girl, you were never meddled again. They respected Mr. Alexis and knew to show respect to his students.

The “Negro Einstein” did not give up his interest and love for science once he became principal. For five years he engaged in serious scientific study and soon published a 40 page brochure outlining his principles of a new theory which he termed his “ethonic” theory.

From 1929 to 1937, he published the following scientific articles: Fundamentals in Physics & in Chemistry, The Thermo-Electric Formula, The Riddle of the Magnetic Field, An Empirical Disclosure of the Fallacies of Relativity, A Counter-Deduction from Bent Alpha Tracks, Radiations-Their Loci of Travel and Their Loci of Origin, The Co-Origin of Gravity&Cosmic Rays, Simple Formulae for Measuring Atoms, Their Speed, and the Speed of Light.

Upon retirement, the brilliant educator and published author opened Straight Business School on North Claiborne near Esplanade Avenue and Mrs. Alexis basically ran it. Lucien Alexis also was president of the Supreme Industrial Life Insurance Company, founder and executive director of the School of Post-Modern Science in New Orleans, and a charter member of Sigma Lambda Chapter of Alpha Phi Alpha Fraternity.

Alexis also spent a great deal of time on his favorite hobbies at home. On the 25th Anniversary of his graduation from Harvard, he told the Harvard press of these hobbies:

“Don’t interfere with my physics and chemistry, which I have raised from the ignoble position of a hobby into the dignified status of a science. Don’t interfere with my Italian which I have picked up since leaving you fellows. Don’t interfere with my German, my French, or my Spanish which I have kept plugging at. These are my near hobbies. You may interfere with my gardening and my frequent efforts at directing operettas, especially the Gilbert and Sullivan ones, for there you are in the field of real hobbies of mine.”

Lucien Alexis passed away December 18, 1981. He is buried in the family’s tomb in St. Louis Cemetery No.3.

[rking200]

It's time for me to share my other project from the @dbh-bb! Introducing: Inventory. This is a project made alongside @telizere, and features their wonderful art at the end of the last chapter. I had a great time writing this fic, and got to add in a handful of OCs that make up Allen's SWAT team.

Summary and other information under the cut!!

Regarding the OCs in the fic: Foucher and Guy are based on two SWAT characters from the game, alongside their internal names, while Mina and Freya are long-time OCs of mine (please excuse the Pokemon in the reference pictures by @pleader600 and me, respectively). Anita was created solely for this story, although I have a feeling she'll be joining the ranks of Mina and Freya among my favored OCs <3

Inventory (13452 words) by rking200 Chapters: 5/5 Fandom: Detroit: Become Human (Video Game) Rating: Teen And Up Audiences Warnings: No Archive Warnings Apply Relationships: Captain Allen & Connor (Detroit: Become Human) Characters: Captain Allen (Detroit: Become Human), Connor (Detroit: Become Human), SWAT Team (Detroit: Become Human), Original Characters Additional Tags: Alternate Universe - Canon Divergence, Canon-Typical Violence, Police, Team Dynamics, Hostage Situations, It/Its Pronouns for Connor (Detroit: Become Human), but not the whole time Summary: Captain Allen watched the RK800 save Emma Phillips and knew that he needed the android to join his team. After countless calls to CyberLife, they finally yield and Allen's team gets the newly-outdated model added to it. With this new development, Detroit's SWAT is stronger than ever, as long as they're all on the same page. CyberLife has decided to move on to finalizing the RK900 model, in a bid to bolster the US Army's defenses against Russia, so production and repairs have halted for Connor's line. As Connor blends into Allen's group, Allen can't help but see human actions hidden within his mechanical façade. At times, Allen swears he can see it exhibiting anxiety, especially when Connor plays with its favorite coin. Of course, Allen was just falling for the ruse that CyberLife is so adamant on building--there is no way human sentience is alive within that android…right? Featuring two canon-based characters, Foucher and Guy, created based on internal development names and likenesses. Joining the crew of Detroit's SWAT team are three other original characters, Anita and the two siblings: Mina and Freya. Created alongside my artist telizere for the DBH RBB 2024 <3