#It's difficult to describe because some of the things he does are specifically for Christine | Explore Tumblr Posts and Blogs

regrettablewritings · 4 years

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Preference: Love Languages

Characters: Cassian Andor, Erik the Phantom, Poe Dameron, Bruce Wayne, & Clark Kent

Cassian Andor

How He Receives:

Cassian is a very tough nut to crack: He’s aloof, he’s driven, he has a seemingly one-track mind, and he’s definitely the least open member of the Rogue One Squad -- and that’s saying something! These traits only seem to become more evident when approaching him from a more romantically-driven angle . . . However, he’s most certainly not a glacier: Even the most glaring of Rebels has a heart, and Cassian is no exception. If one does the math, it eventually becomes apparent that the best way to warm this man up is through quality time.

Admittedly, it’s quite shocking to think this. After all, there are no tricks or double meanings to quality time. It’s exactly as it says on the tin: Drawing feelings of love and acceptance from spending time with someone you love. Be it while doing tasks together or talking or just sitting and enjoying one another’s company, quality time ultimately boils down to feeling seen and heard by just having your loved one near you. (In addition, it’s also often associated with down time, which can especially be seen as a plus in the eyes of a ranking official in a war effort.)

The idea that someone like Cassian could harness love from being around another person so often just plain puzzles you. After all, he’s not exactly known for being the most welcoming, or even the most eager for downtime. Indeed, Cassian himself may find himself in denial of seeking attention like that.

But really, as much as he may refuse to show it or even believe it, he really appreciates being shown this kind of attention. He’s more or less resigned himself to the life of a cog, helping to keep the machine of the Rebellion going by doing his part. He may not necessarily voice contentment over this, but given that he’s given so much of his life to the cause, there are few other options he sees for himself. At least, he thinks. He honestly doesn’t acknowledge to himself just how deep he does, what his wants are, who he is separate from his actions and traumas.

But by spending time with his partner, he’s given the chance to confront himself: He can talk to you and have you talk right back to him. He’s given a chance to simultaneously learn more about you and also about himself. He can feel seen, he can feel heard! Because when he gets quality time with you, he’s no longer Cassin Andor, Captain of the Rebellion, deadly sniper and veteran spy: He’s just Cassian. Cassian Jeron Andor: A man trying to do right by the future while at the same time trying to confront his past after so many years of avoiding it. More importantly, though, he’s your Cassian. Which is as far from being any old cog as one gets.

How He Gives:

Unlike his personal love language, how Cassian expresses care can actually go deeper than what its name suggests. The thing about giving gifts is that the gift need not necessarily be tangible: Sometimes it can be a gesture, an action that doesn’t qualify as an act of service, anything that could be perceived as a fundamental expression of how someone loves you. At their root, the giving and reception of gifts revolves around the idea that it is literally “the thought that counts.”

And for Cassian, you are on his mind when he decides to bequeath you with the gift of being able to defend yourself. Is it a strange gift? Absolutely. Is it advantageous? Most assuredly. Most of all, is it terribly important to Cassian that he gives you this? Beyond words.

Deep in love or slowly falling, you’re doing so in the midst of a war: One can never be too careful. And given that at any moment, the enemy could locate the base or one side of the partnership could be deployed on a dangerous mission, it’s better than have and not need the ability to knock a trooper unconscious than to need and not have the ability. Cassian has already lost so much in his life; he doesn’t have any desire to have one of his remaining loved ones added to the list.

In the event he can’t be there to protect you, he needs to know you can at least put up a fight well enough to possibly escape. So when he teaches you how to shoot or how to participate in hand to hand contact, or even teaches you how to combat Empire weaponry using items stolen from their stocks, it’s because he has you in mind. He has the image of a safe you in mind, to be more specific.

Because even if he can’t be there, he wants some trace of himself with you when you most need it. After all, the greatest gift one can receive is the gift of their partner being there for them. In Cassian’s case, if he can’t be with you physically, he’ll for damn sure make certain he’s on your mind in a way that will keep you alive.

Erik

How He Receives:

At this point, Erik’s love language could best be described as “yes.”

The man has gone throughout so much of his life lacking in various forms of all five, so it would be difficult to say at first what the best approach would be. Hell, it wouldn’t be far off to assume that regardless of what he truly felt, he would bend over to receive love however you gave it to him: He would consume every last drop as though it were the final beads of rain in the desert. However, it should be noted Erik seems to respond particularly well to words of affirmation and physical touch. Or, at least, these are the languages he appears to be most in search of.

This, of course, is unsurprising: Of all the things Erik has been denied in life, recognition of his humanity, abilities, and worth, and the kindly touch of another, are the most prominently missing. Consequently, it’s no wonder he desperately seeks someone to praise his genius. The problem, however, is that he’s become so lacking in either that his search for one or the other has more intensified natures than the average person’s.

For example, it may seem arrogant (and, to a point, it is), but considering Erik associates his worth with his talents and what he can contribute, it’s no wonder he snarks or even throws fits when he feels he’s been underappreciated. He considers himself too proud to fish for compliments, but you wouldn’t be sure what else to call it when you notice him leaning in ever so slightly, eagerness twinkling in his eyes when he asks you for your input on one of his most recent projects.

More tragically, however, is the situation regarding physical touch. Modern psychology would recognize Erik as being somewhere along the autism spectrum. For the time, however, all Erik knew was that he had a certain sensitivity to things: Sounds, some smells, heavy light, and, indeed, some sensations of touch. The aversion to touch flickered, however, much like candlelight: There would be long periods where Erik would crave the feeling of another, followed by brief moments where he couldn’t stand the idea of anything touching him and vice versa. Some days, he would feel content in his robe, one of the few things he’d escaped Persia with; other days, it, as well as any other seemingly gentle fabric, would feel scratchy or dry on his skin.

Nevertheless, Erik wanted to become familiar with the feeling of someone else. Particularly, he wanted to become familiar with the feeling you. The unfortunate nature of it all was that Erik’s touch-starved nature would sometimes collide with his touch-aversion tendencies, leaving him a frustrated (and, at their worst, trembling) mess. He, of course, chalks it up to him being overwhelmed from lack of experience, but it certainly doesn’t help anything. He’s already gone this long without so much as over one kiss to his name, most touches being through some reckless nature.

And now that he finally has in his life someone to touch him as though he were a beloved pet, to kiss him as lovers are meant to . . . It’s simply not fair! He’ll be damned more than he already has been if he lets what he perceives as fear get in the way of himself and your affections!

In his stubbornness, he tends to push forward on the craving regardless of how much it will cause him to shiver and tense: Even if it only means your pinky wrapping around his, he wants your physical company upon his own. He will brave all that he must until he can no longer bear it!

Praise him. Call him your angel. Tell him he’s brilliant. Tell him he’s good. All while hugging him, or rubbing the smoother parts of his scalp, or gently stroking a thumb on his cheek (blemished or not, he won’t force you to touch what you don’t want to). Truly, to be seen and felt in ways of affection is how people are meant to be loved, in Erik’s book.

How He Gives:

On the rare occasions he’s been accepted or tolerated in his life, it’s usually been in relation to what Erik could provide for the other party involved, romantically or not. Be it to use his skills to carry out a murder task, or to create for them gifts beyond their wildest dreams, Erik has since learned (or at least been led to believe) that one of the best ways to please someone is to provide for them.

As a result, anyone who’s caught the eye of the Phantom of the Opera need not be shocked when they find him in their services as a tutor, or pulling strings behind the scenes to help their goals be achieved within the opera house. Case in point, with Christine, he offered to teach her to sing, he tried to raise her status as an ensemble member to the prima donna of the Opera Populaire, etc. Sure, his methods were not ideal, but to Erik, these were simply acts of service and providing her intangible but nonetheless important gifts meant to help her along in life in some way, albeit with traces of his own selfishness intertwined. (Not that he may have necessarily even noticed it at first. Remember: He gave her his music; he gifted her with something very important to him that he still wanted her to have.)

While he’s since thankfully dampened down on his methods, the language he speaks to any new and special person remains: If you have caught his eye and/or heart, he wants you to know your importance to him the only way he really knows how: He wants to provide you with peeks into his little world, to express to you what he finds difficult to do in words. Erik is not inarticulate in the least, but he truly does feel his actions speak more of his soul than his words sometimes can.

So from this, be prepared to find projects of yours completed after spending night upon night struggling to keep up. Do not be alarmed when you find letters in your working station with tips or secrets that ultimately help you along the way. Cherish those days when you find small morsels of your favorite pastries (don’t question how he got them), or if he lets you be the first person to lay eyes upon his newest masterpiece. He’s doing all he can to help you, even if sometimes it must be from afar. He is, after all, your most devoted and obedient servant.

Poe Dameron

How He Receives:

Poe Dameron: the Resistance’s golden boy. Always committed, always ready to go, and always ready to lend a helping hand. It therefore stands to suggest that the devoted general deserves some help right back. After all, being a general is a tough job: He has to make tough calls, disperse troops as necessary, direct the flow of the Resistance’s counters, and so forth -- all while keeping a calm and reasonable countenance. He wants to do everyone proud, but admittedly it does take a lot out of him.

Hence why with him, acts of service can go a long way.

To the average person, this may come off as just doing chores: Helping mind his resting quarters, relaying messages as necessary, bringing him things he may need, making sure he eats and sleeps regularly enough, making sure subordinates stay on task and don’t distract him from larger responsibilities in favor of more tedious endeavors . . . This couldn’t possibly be what endears a bold and confident hero like General Dameron, right?

Actually, it is: When someone performs an act of service, they’re telling their special someone that they love and care about them enough to help take a few things off their plate. And when somebody best receives love through another’s efforts, it means they see that their own personal time and work is, in fact, appreciated! Poe feels loved and cared for when he has someone who knows that in spite of his hero status, he really is just a man: He has limits, he has his doubts sometimes in the dark. Being General Leia Organa’s successor means he has big, big shoes to fill, and even though everyone has faith in him, it’s all too easy for him to potentially put himself into overdrive and risk even his health.

When one wants to show Poe that they love and care for him, to do really is to love.

(Additionally, if you tend to BB-8′s maintenance and make sure his X-Wing is in tip top shape, it tells him that you also care about the things he values beyond his job and regular functioning. BB-8 is his best buddy, and his X-Wing is symbolic of his first love: Flying. When you respect these two pillars of Poe’s life, that’s how he knows you see him for him.)

How He Gives:

There are many great things that could be said about Poe Dameron: That he’s handsome, that he’s brave, that he’s not afraid to take a risk (though how great of a thing this might be can be debated), and so much more. But one of the most underappreciated yet blessedly wonderful things about this man is that he has just as many wonderful things to say right back! He has a natural ability to lead and instill confidence, so it is only natural that his way with words translates into his way with love: Words of affirmation is Poe’s game, and he plays it hard.

Because of how ready he is to commend another, it’s rather easy to assume that perhaps he’s just using run-of-the-mill, one-size-fits-all compliments. However, this is far from the truth: The truth is, Poe can see beauty and skill in all kinds of ways, and he’s not afraid to openly appreciate the ones whom he sees it in. As a result, everything he says is steeped in genuineness, often at the perfect time (sometimes without his target ever even knowing they needed it).

His partner, of course, is far from and beyond being an exception.

Your days are filled with constant reminders of your worth, with praises and comments prompted by him acknowledging your efforts.

You successfully run a drill known for its difficulty? He congratulates you with, “Great job!”

Your learning of a new skill, regardless of how minor it may seem to the unappreciative, is greeted with statements of how proud of you he is.

A long day of running errands for him, or helping him clean up his plate of duties is acknowledged with a tired but nevertheless warm, “Thank you, Starlight . . .”

Admittedly, it can potentially come off as a bit much. He couldn’t possibly see so much in you worth talking about, right? In actuality, he truly does: Contrary to popular presumptions, Poe isn’t nearly as arrogant as people believe him to be, and he easily recognizes how strength and bravery comes in all shapes, sizes, and wars. He can appreciate all the efforts one applies, and he wants them to appreciate themselves right back. Hence why, whether it’s over your skills or perseverance, Poe will always be there to remind you he’s in your corner, watching you with pride in his eyes.

You’re a hero in your own way, in both the Resistance and in your own life, and you deserve to know that about yourself. He sees you, he appreciates you, he loves you for all that you are, and even the bits that you’re not.

And even though it’s so easy to want to doubt him, there’s something so warm and honest about the way he looks at you when he says, “I love you” . . . You just can’t help but know it’s the truth.

Of course, it should also be noted that even once the war winds down and he no longer has drills or base errands to appreciate you over, the praises will not stop. This man has a nebula’s worth of affirmations waiting for you, in his vice, in little messages he leaves for you, in holoimages you find whenever he has to go out.

“I would never want life with anybody else,” he tells you every chance he gets. And every time, it’s accompanied with a warm smile that reaches his eyes. It’s enough warmth to fire up an entire galaxy’s worth of stars, with each one representing something about you to love, adore, and cherish. He would mark them all in a star chart if you would let him.

Bruce Wayne

How He Receives:

Bruce, Bruce, Bruce . . . How does one begin to solve an enigma like Bruce? The thing about him being the Prince of Gotham and an all around very public figure is that everyone likes to make their own assumptions about him: That he’s cold, that he’s selfish, that he’s an idiot, or that he’s, well, a slut. And certainly, the philandering playboy image he’d projected in his youth did nothing to suggest otherwise, but it should be stated upfront that Bruce is and always will be an enigma far beyond first impressions, even to ones who love him and are a part of his personal life.

Case in point, it may come as both expected and a surprise that the man's love language actually veers more in the physical touch territory. It's a bit expected because, once again, he is known for being a bit more playful with women in the public eye in the past. However, as his lover in a much more healthy and intendedly long-term relationship, you learn that, much like Bruce, it goes far deeper than that.

The thing about physical touch is that it is both a fundamental way of expressing love, while also requiring a lot of understanding between those involved in order for it to have the best turnout.

Everyone assumes that Bruce will accept any touch, so long as it comes from the hands of any pretty thing. And while it is true that lapses in judgement and moments of desperation have led to Bruce letting his guard down, the fact of the matter still stands: Not all touches are created equal. Not every spot will illicit the same response, and, surprisingly, not every applicant will either.

There have, unfortunately, been many hands seemingly placed on his shoulders or face that would start off sweet and trusting, only to turn into slaps or harsh grips, long nails digging into him in a moment of distress. Without going into too much detail, it’s sufficient to just say that these instances have consequently led to Bruce becoming increasingly on guard about who he lets touch him, causing him to become more and more touch starved than what he already was.

Getting close enough for Bruce to let down his walls was by far not an easy task. But by far, your greatest accomplishment was getting Bruce to trust you enough to know: Your caresses had no dubious intentions. He’d spent so long expecting you to turn around and prove you were using him, taking advantage of his need for another’s physical attention to get whatever you wanted. After all, that’s how it went in the past with others.

But with you . . . With you, Bruce has come to find that it’s . . . different. He’s learned that your hand is resting on his cheek to pillow his weary head, to gently scratch the scruff beginning to form after working long hours into the night after night after night. While your massages on his aching back may lead to intimacy, it doesn’t have to; and when it does, it’s accompanied not by sickeningly sweet words made to threaten to tear him down. And speaking of intimacy, you don’t use it as a tool: You use it as a means of communicating with him. You want to actually be with him, in that moment, and let him know that for every second you are bound in this way, you love and adore him for who he is.

It’s hard to imagine, but the big, strong Dark Knight often finds himself seeking your touch throughout the day. He’s good at hiding it and composing himself otherwise, of course, but that’s regularly only to a point. In private, he leans in ever so slightly, his eyes quietly begging for you to embrace him. You care about his vulnerabilties, his needs for gentle touches, and even though they sate him, he’s always left wanting more. For even though he is supposedly a man who has everything, he will always be selfish for your unselfish touches.

How He Gives:

Once again, there was almost a sense of predictability revolving around Bruce’s main manner of showing love. After all, where was the shock in a billionaire resorting to gifting his partner with material goods? Indeed, this unfortunate expectation easily led to some corruption and exploitation, but the fact of the matter stood: At its root, Bruce never meant to necessarily spoil the ones whom he tried to be with; he merely wanted to provide for them tangible happiness, things that would let them know he’d thought about them. But, of course, bad company makes for bad reception: The socialites and femme fatales that had slinked in and out of his life were all too ready and willing to milk what they could from their other half.

Any “wronged” lovers would give him the cold shoulder until it was warmed by some fancy coat or couture leather jacket; they would demand to be pacified by the crystalline beaches of some far off location that would no doubt look great on their social media; fancy bags, tickets to shows Bruce could never wrap his head around, the latest gadgets and trendy things – he was more than willing to provide them if it meant she understood and appreciated his efforts and affections.

Of course, they never really did. And, of course, this left an impression on Bruce.

He hadn’t meant to be so cynical by the time your relationship with him came to be, but suspicion had become second nature. As did his tendency to give half-hearted gifts in order to supposedly appease you. (Of course, he could have potentially tried to learn a new method of showing his care, but that is neither here nor there; gift-giving just seemed to come most naturally to him.) He didn’t necessarily mean to lump you in with the rest, of course, but none of the relationships previous had ever allowed him to think the possibility of there even being an “otherwise.”

And while you didn’t necessarily mind receiving nearly weekly parcels of dresses and jewelry and the latest tech, part of you did admittedly feel somewhat stifled by it all. And cold. But maybe this was how Bruce truly did show his love? And who were you to conduct how he did so, much less reject his offerings? And so, as a result, a wordless dance between the two of you had been initiated: Bruce would buy what he thought you wanted, and you would accept if only because you felt you needed to in order to show your acceptance of his life. It wasn’t until Bruce had given you a postcard, however, that the tide had turned.

He hadn’t thought too terribly much of the thing when he’d sent it to you from Amnesty Bay during a recon of sorts; of course, he’d been thinking of you, but as far as he knew, you were probably thinking of him bringing back something valuable. (If only the sleepy, seaside town actually had anything worth so much.) What he hadn’t expected was to see it perched on your nightstand when he returned.

“I like having it nearby me when I go to sleep,” you sheepishly admitted. “It’s small but . . . Well, you were thinking of me even when you were ‘doing your thing’ out there, and it feels really . . . nice . . .”

“Nice?” he repeated, a brow raised.

“Nice,” you confirmed, cheeks burning.

. . . Hm. He couldn’t help but note that you hadn’t fidgeted like that after he gave you the diamond tennis bracelet he’d picked up on the way back.

Smartest detective in the world, his foot: Maybe . . . There was a slight chance he’d been going about this the wrong way. And the more he tested this theory, the more that slight chance began to look even bigger: It was when he remembered things like your favorite meals, both at home and when dining out; it was when he brought home your favorite snacks after a particularly rough week; it was when he remembered dates that were important to you, or added small things to your growing collections of your choice.

Those were the moments where you felt connected to him. Those were the moments when you felt Bruce’s love for you. It was in the intangible some days, and in others, the tiny gestures that left you feeling large amounts of warmth within. Certainly, as time went on, you became more accepting of the larger objects sent your way, but it was only after Bruce genuinely applied his thoughts of you in order to guide him more properly. In the end, you didn’t need big items, big gestures, or really anything with a big price tag to appreciate him or acknowledge that he cared. All you really needed what to know he was there, ready and willing to make you as happy as you wanted to make him.

And, in a way, by relearning to give you gifts, Bruce was inadvertently gifted right back: He was reminded why giving gifts had become his go-to method. Certainly, it had started off as means to show his ability to provide, but it had long since evolved. Specifically, it had matured into something more healthy and beautiful, healed from its wounds and exploitation.

Because so long as he thought of you, there was always something around him – something he could do – that was suddenly made all the more beautiful for being associated with you.

Clark Kent

How He Receives:

Superman was a polarizing figure: For every news article recounting his amazing feats and daring rescues, there were at least three or five think pieces on his alien nature, or conspiracy podcast episodes dedicated to defining his malevolence. And while it admittedly made for a rough start in his heroing career (after all, even the weight of worry was a bit much for the world’s strongest man to properly handle), the Last Son of Krypton had thankfully since learned to stop investing so much stock into these sorts of criticisms. To a point anyway.

After all, a few words of affirmation never hurt anyone. Least of all the Man of Steel – or rather, his alter ego, Clark Kent.

Despite the fact that he had been Superman for at least three years by this point, Clark’s complex relationship with compliments and declarations give his relationship with you a bit of a bumpy start. It wasn’t that he was unfamiliar with the concept of compliments and being appreciated – he’d gotten plenty of it for his deeds. For what it was worth, in three short years, love for Superman had made an almost complete 180 from the previously dour position. But, then again, that was the problem: He knew adoration as Superman – but Clark barely knew appreciation as himself.

It was easier to accept that sort of thing when you were a public figure: All you needed to do was smile and puff out your muscular chest and speak in a clear and precise voice as blazing and bright as the sun that powered you. Simple stuff. There were plenty courses and even tutorials on how to be a public figure and how to appreciate praise. But nobody talks about how to do it when one is a supposedly sheepish, poorly-postured man of humble means, just trying to make his way in the big city. Probably because when one is such a man, not much is expected of him, much less something actually worth touching upon.

To your credit, you didn’t know this was something he needed. And to his own, he didn’t really recognize it, either. He’d spent so much of his life lately being dedicated to being Superman that he quietly began to neglect himself as a man in multiple areas of his life; why ever would he think about how he needed to receive love when he has to focus on keeping the city clean of crime? You thought he wanted you to appreciate him for such a nigh-on impossible feat! After all, not just anyone could brag that their boyfriend stopped a hostage situation, blew out a fire in a single breath, and lifted a derailed train back into an upright position, all in one afternoon! But the more and more you complimented him on such matters, the less and less you came to actually agree with your methods.

Not because you became used to and even bored with Clark’s Supermanning, but because the more you paid attention, the more you noticed that Clark, well, wasn’t beaming. You knew the difference between happy-for-the-public Supes and genuinely-happy Supes – there was a certain light missing in Clark’s eyes whenever you would congratulate him on a job well-down with a robbery or what have you.

Still, he would thank you for it, flashing you that glorious smile of his: “All in a day’s work, sweetheart!”

Even the tone with which he used wasn’t authentic to his true self.

You found yourself racking your brain as the days progressed. Maybe he was a different love language altogether? It was a bit presumptuous of you to assume this was the proper method, though, wasn’t it?

You haven’t even been meaning to think about it the moment it came to you; all you were trying to do was let Clark know how much you appreciated the meal he’d prepared. A less busy day for Superman was still plentiful for the average man Clark was trying to be; you never would have pressured him to come home and start cooking, much less a dish he’d only just recently found out about!

But that was simply how Clark was: He always went above and beyond, more than happy to take care of you whenever he could.

“Oh, wow!” you gasped between forkfuls. “You’ve really outdone yourself tonight; you really didn’t have to, Sweetie!” You glanced up just in time to see Clark’s face pinken ever so slightly.

“Oh!” he responded. “Well, you know . . . I just followed the recipe and went by intuition, that’s all . . .” And that was when you knew you were on to something. There were a million tells: The tensing, the flicker in his eyes, the clumsy smile . . . But most telling of all was his deflection: Clark never used deflection when accepting his usual bout of compliments.

But just to be certain, you carried on just a bit further. In the weeks to come, you would bring attention to the things Clark did -- specifically as Clark: You would appreciate aloud how he would do chores or bring home groceries even when he didn’t have you; you’d remind him of how handy he was around the apartment, using his farm-grown resourcefulness to fix little problems like a broken door; or, when reading over his submission for the Daily Planet, you would compliment him on his writing and thought process. And, as you’d come to expect, the same responses would follow: A split-second glimmer, a wobbly smile that carried blush, and an insistence that, “Oh, it was nothing” or “No need to mention it, it’s fine.”

In short, everything that was less Superman and more Clark. And that was how you knew you were on the right track.

While it did come with a learning curve for both parties (for you, you needed to learn what did and didn’t appeal as a Clark-specific affirmation; for Clark, he actually needed to learn that there was plenty about himself worth affirming at all), stability and a better understanding of the situation did come your way. The deflections lessened to mere extinction after a point (though the sheepishness still stayed for the most part).

Of course, there were still threats of lapsing back into disbelief on Clark’s part. After all, just because you, as Superman’s partner, had figured out his preferred way of being appreciated, didn’t mean that the rest of the world could possibly know or stop how they gave him there’s. But at the end of the day, Clark supposed that that was what made it all the more special.

At the end of the day, after all the “You’re so strong!”s and corny “What a man!”s, he could just come home and be greeted with much more personal, “Thank you for responding to my message earlier; it was very thoughtful of you!”s, or “I read your latest article; not too shabby”s. Or his absolute favorite: “You’re my hero.”

How He Gives:

There’s no point in mincing it when even complete strangers experienced how Clark showed his love for the world: Every act of heroism Clark did was an act of service to all. But where you got off on the long end of the stick was when you had to acts all to yourself. Sure, 10% of the local population could recount how Superman had saved them from a nasty fall or retrieved their poor kitty from a tree -- but how many of them could say that they had Superman helping them clip coupons so that they would be prepared for the next visit to the grocery store? Just you? You’re darn skippy!

Sure, Clark’s alter ego was in the service of all. But you had an ace up your sleeve: The intimacy and closeness of a working relationship! This meant you got the more personal acts of service; things that made you two look like a normal couple.

Clark would happily gather groceries for the household; do the dishes without complaint after you’d cooked; pick up the laundry on his way back if you hadn’t already; overall, the works! Of course, you had been very hesitant when you discovered that this was Clark’s way of displaying his love to you: He was already running himself ragged as a superhero, right? Why was he doing all these extra chores!? True, you certainly didn’t mind having some extra tasks in your day being taken care of (not everyone had the same super speed or ability to take care of a major problem in record timing, after all), but the idea of being a burden toy your already overworked boyfriend worried you. You began to seriously worry that perhaps there was something you were doing that suggested to him that this was what you wanted, and it clearly showed in your nervous expressions or uncertain eyes after the fifth time he proudly told you he’d given the entire apartment a clean sweep.

You had meant to do that, but traffic on the way home kept you busy . . .

“It’s okay,” Clark insisted, eyes earnest. “I like being able to take some worries out of the way for you. Cleaning the apartment is easy compared to what I do on a regular basis.”

You pressed your lips together, uncertain. “Yeah, but that’s just it: You have a regular basis. A very crazy one. I don’t want you to focus on all this . . . tedious stuff when I can just do that. You focus on the weird, power-y villain stuff, I focus on the mundane -- isn’t that what we agreed on? Wordlessly??”

Clark frowned. “No . . . There was never an agreement. At least, not like that. The only thing we ever agreed on was that we wanted to be together. . . . And that we liked this apartment. But I digress: We wanted to be together. And when I do things like this, it shows how much being with you means to me. I like making sure our home life is secure and clean. After all, if my girl back home is upset, then what kind of man would I be?” You were quiet, certain he was being rhetorical -- “A not very super man, that’s what.” If that smile of his weren’t so darling, you would’ve been tempted to wipe it off his face.

But you did see his point. And it did take a bit of time to get used to it. Of course, you refused to let your ability to do your share fall to the wayside: If you were able to do a chore or run errands, then you were on it! But . . . far be it from you to not appreciate your super man for the things that he did, when he could!

In the event you’d beaten him to the tasks, however, Clark would still have one last thing up his skin-tight sleeves: Physical touch.

Everyone knows this man has the strength necessary to uproot and transport an entire building. It’s enough to even cause some nervousness to the average person: How careful was he with his strength? How easy was it for him to forget himself and actually break something --or someone? Was being held by him a risk at the expense of the wellness of one’s bones? The answers were simple: He was very careful with his strength; not as easy as it had once been, but he’d long since come into his own sense of control; and not really, actually.

Who knew that the Man of Steel had a touch of kittens made out of clouds? Well, 10% of the local population, but also and especially You because whereas everyone else would experience a carry of some kind into safety, you got a carry into bed. Or the couch. Or even just his lap!

Really, the roughest Clark ever hazards with you is when a long day has left your back feeling stiff and in need of a gentle, gentle pop. He is more than happy to oblige, knowing that it’s giving you a sense of satisfactory (as well as doubling up as an act of service, or so he claims).

Clark loves cuddles, and he’s more than happy to share them with you as a reminder of just how special you are to him. After all, nobody else in the city can claim that they get to be spooned by the strongest and most sweetest man on Earth! Because out of all the people he comes into contact with on a regular basis, be it on the streets as a civilian, or in the midst of a crisis being brought down to control, you’re the one that matters most to Clark. He may be the world’s Superman, but let’s make one thing clear: He will only ever be your super man.

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klein-archive · 3 years

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Memories in feelings

8th June 2021

This will be my (Jane Milton’s) last blog post before handing over to the new Melanie Klein Trust archivist, Christine English. I know that Christine has already identified some very interesting archival material that she will be sharing on the blog - which I am certainly looking forward to reading.

So, to round off my always stimulating, fruitful time exploring the Klein archives (though I will continue to refer to them) here are some clinical notes I came across recently, which I hope will be thought-provoking.

Klein discusses what she calls ‘memories in feelings’ several times in the third and fourth volumes of her Writings. For example, an important footnote to page 180 of Envy and Gratitude reads:

All this [referring to early phantasies concerning the breast] is felt by the infant in much more primitive ways than language can express. When these pre-verbal emotions and phantasies are revived in the transference situation, they appear as ‘memories in feelings’, as I would call them, and are reconstructed and put into words with the help of the analyst. In the same way, words have to be used when we are reconstructing and describing other phenomena belonging to the early stages of development. In fact we cannot translate the language of the unconscious into consciousness without lending it words from our conscious realm (Klein 1957).

In archive file PP/KLE/D.11, I found a detailed and complicated example of a ‘memory in feeling’, together with Klein’s interpretations of and reflections on it, in the analysis of a man in his late forties, whom she calls ‘Mr X’.

In the second half of file D.11, Klein discusses the difficulties that the patient is having, in integrating feelings towards his parents with the analytic transference situation. The analyst is sometimes spared the complex and contradictory negative feelings felt towards the primary objects, while, at other times, the situation with the parents is idealised, and the analysis and analyst denigrated. The following material appears in the digitised collection as images 18, 20 and 22-28 (omitting some pages which are crossed out and do not appear to belong to the sequence):

---

I could give you many more instances of attitudes, which have all in common the attempt on the part of the patient to avoid a synthesis between the various aspects of figures and relations, which have come to focus on the analyst. The point here is that the synthesis, which the patient has not been able to establish sufficiently in the past is bound up in the various anxieties coming to the fore. The analyst is loved and hated, as other people in the patient’s life were earlier on, and the patient resorts to all sorts of defences and among them the process of splitting figures and situations, in order to avoid the relations that these various aspects represent, the various aspects of the mother and father. It is, therefore, our work to help him to experience again and again - and this is a slow process we know - the realisation, that he has only divided up, split his ego, his relations with people, and the people themselves, in the attempt to avoid conflict, anxiety and guilt. Our interpretations aim at synthesis, but the synthesis can only be achieved piecemeal, and again and again the patient has to be confronted with experiencing conflict and suffering, which he has tried to avoid in the past.

Re memories in feelings: (to George)

[George is a child Klein saw between the ages of 3 and 8, in the 1930s, who appears in two of the ‘restricted’ files B.39 and B.40]

This brings me to a point which applies to adults as well as to some extent to children. We know how important it is to revive in our patients[’] memories. We however also know that such memories can be extremely falsified. This is included in the concept of cover memories. So while it is beneficial to get as many memories as possible, it is in connection with emotions, desires, anxieties which partly led to these memories, and which these past experiences were connected with, that we have to understand any situation in the past as well as in the present. We should never rest content with just having past experiences as it were reconstructed in the analysis, because we must not treat them as it were as isolated events. Only if we are able to bring out the whole situation of feelings, anxieties, fitting into the development as a whole, we can feel that we have benefitted sufficiently from the revival of memories. Now there would probably be no difference of opinion on that point. I still think it is worthwhile mentioning, for there are stages of development of which we cannot get memories in the full sense of the word, expressed by words, and in the clear-cut way in which memories of a later stage may appear. And yet they are memories of feelings.

Refer back to Mary in this connection - reproducing the situation of the baby (lamb) with all the oral details attached to it [it is not clear to whom Klein is referring here]

A VERY EARLY MEMORY IN FEELING

Man Patient X (age: just under fifty) 8th February 1946

In identification with the little child who was teething and woke at night repeatedly crying, the father felt suddenly, having just woken from sleep, what an “awful thing was going on in the child”. He had a vision of something growing out of the soft mouth, flesh being contrasted here to something very hard like spikes which were somehow thrust on him (because by now he felt it happening to himself and not to the child) and being forced to push these spikes together. (this was shown by a gesture). And a terrible feeling how awful that must be. At this moment, when visualising the spikes coming together, he had a vision of these hard things outside him, and “death-head” was the next association to it. The feeling of grievance that he could not stop that happening, that this whole thing had been thrust on him, that something had made these spikes come out, and that he had no more control over these spikes because again something forced him to push these spikes together.

Now these feelings he found extremely difficult to put into words, while he was otherwise very vocal. It seemed as if they just could not be put into words. And he fully agreed when I suggested that this incapacity was due to the fact that such things may be felt but not thought of in words at a very early stage. The one stimulus for experiencing what quite obviously was a memory in feeling was the identification with the little daughter. Another is the transference situation at the moment.

In the preceding hour some guilt about leaving the responsibility all his life too much with other people, or rather a tendency towards that which was very much controlled, had come up. Facing that, a very high appreciation of the value of the analysis and the effects, and a feeling of unworthiness in having it, had become quite clear. A particular association was leaving the responsibility for sweets (tuck at school) with the mother. He would not take sweets with him after the holidays, but she should rather send them. They were packed into a tin, and there seemed something very wrong about that, an inexplicable feeling that it was not, as it were, her job to send them in a way which left some responsibility with her which she should not have. This had connected with feelings that however valuable the analysis might be, he does not make the best of it, or won’t do in the future.

My suggestion in the preceding hour had been that he would use the interpretations, and the analysis, in the wrong way, that he would not make the best of it. Now an association produced on the 7th was that after having left me, at the moment of going out of the room, he had suddenly had an association that in fact he would make use of the analysis in such a way that it would improve his earning capacity, and he disliked the thought that he would use it to make money.

Now there are here two trends of thought which became quite clear in the present hour: The good thing, the milk, the nipple, taken in would be changed into faeces and thus be completely destroyed – money making – bad purposes.

This is the way in which the nipple, and now my interpretations, would be treated while being taken in. The object would be destroyed, the “death head”, which himself felt was a later elaboration of what was felt dangerously destroyed in those early days, is the object- in this case me. Therefor the tin in which the sweets were packed is not only his inside in which he should not take the sweets, but it is more specifically the mouth and the teeth (the edges of the tin).

The very strong feeling that it was not his fault, because it was pushed, thrust on him, seems to connect with the nipple being pushed into him. And here the object itself becomes the teeth, a condensation of what is being done to the object and reflected in his attitude towards him. Also why was the nipple given to him? But there seemed to have been in fact at the very beginning of feeding great difficulties because the mother had been very ill, and X has a feeling- not supported by what he had heard- that for some time she could not have fed him. In his view, since she was so ill at his birth, some weeks could have elapsed before she could feed him. A view which seems rather phantastic when he was going over it in this hour, because what would have happened to the milk?

He had been told that his breast feeding otherwise had been normal up to about 8 months but with the strong feeling that to begin with there had been a long gap, a very long time before he started on it. The present impression was that he might have had very great difficulties in taking the nipple, perhaps because of a break in the beginning or perhaps because of fears, as the mother, who was on the whole affectionate and patient, was apt to be erratic and if things did not go well, impatient. The possibility appears that if at the beginning of the feeding there had been difficulties due to starting a little too late with the breast being given and to his difficulties, she might have been impatient and thrust the nipple into his mouth.

Very fundamental attitudes seem to be connected with this. Incapacity to make use of very great gifts in him, of choosing, or trying to get the best thing, to make use of opportunities – against that in the same way a tendency to thrust responsibility on to others which was in fact not carried out. A very strong drive to get the best opportunities and also to make use of them, but with a constant conflict over these two attitudes which no doubt had to some extent a paralysing effect.

An interesting point is the vision of the “death head” in front of the mouth, outside. It seems to show so closely the process of the object still outside and at the same time already internalised and again externalised – on the boundary. As well as the actual external object, the nipple, changed into this destroyed object.

Memories in feelings are not an unknown fact. But this should be put versus what is called “memories”. I find them in such ways also with adults, that the whole situation becomes alive. All this shows in attitudes and is connected with the transference situation.

--------------------------

References:

Klein, Melanie (1957) Envy and Gratitude. In Envy and Gratitude and Other Works, The Writings of Melanie Klein Volume III. London: Hogarth 1975.

#melanie klein #psychoanalysis #memory #transference #child development #internal objects #good breast #internal conflict #ambivalence

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doshmanziari · 4 years

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Aldrich and the Desacralization of Dark Souls 3

Aldrich, the obsessive-consumptive cannibal saint, is one of Dark Souls 3′s most interesting figures when one sees his actions and inferred character as representing a prominent facet of humanity’s spiritual position at the time of the game’s setting. If we look at Dark Souls 3′s landscape as an assemblage of symbolics, and compare it to Dark Souls’ arrangement, we see that an inversion has occurred: the zenith is the human domain of the High Wall of Lothric, and the nadir is Irithyll/Anor Londo, once the apical sunlit land of the gods, now chilled, darkened, and sunken. And yet, even if Anor Londo only ever represented the power of a pantheonic institution, its ruination and darkness here is a much more troubling scenario; because at the “zenith” we find only stasis or stagnation, a reflection of the psychology of prince Lothric himself who has selfishly fended off fate through elusion and inactivity (if we note the series’ pattern of things being what one makes of them (i.e., reality is what one believes it to be), we may wonder if Lothric’s lameness was not self-willed¹). On the broadest scale approaching metatexuality, we see too that Dark Souls 3 is the series at its most complex and diffuse, with the collective mono-myth responsible for the Age of Fire now distant, separate, very nearly nonexistent.

For an example of this, let us look to the swamp around Farron Keep, where we must put out three flame-beacons corresponding to the Witch of Izalith, Nito, and Gwyn’s deific family. This sequence is an initiatory rite of passage, but, rather than entering into a mystery for contact with the numinous, we perform willful ignorance for mere tribalism (to witness it, anyway). For it is only through this symbolic act of un-remembering -- the nullification of the sustaining flame of myth, the obscuring of its principal actors -- that we are granted access to the Keep proper, and then to the Abyss Watchers, a clan of warriors who represent, to an extreme, “mass-mindedness”: directionless, hollow zombies who do not even remember the name of the knight they model themselves upon. All that matters here is the Clan, where insular, infinite warfare is mistaken for life-sustaining meaning (I’d make special note of the fact that the Abyss Watchers all resemble one another; the violence done to another is, in truth, violence done to the self: self-oppression misinterpreted as empowerment). As César Daly wrote, “To neglect history, to neglect memory, that which is owed by our ancestors, is then to deny oneself; it is to begin suicide.” The great abundance of such details makes it all the more startling when Shira, in the Ringed City, says to us, “Speak thee the name of God” (i.e., Gwyn).

No one can seem to agree on what exactly constitutes or delineates the Age of Fire or the Age of Dark, but Dark Souls’ Serpent Kaathe refers to the latter as "the age of men.” Given the evidence, it is difficult to not see Dark Souls 3 as marking the beginning of such an age, or at least the transition between the two. But what liberties has it brought? They are, I think, the pseudo-liberties of a desacralized world. Narratives have become aimless, attempts are made to plug up voids without examining root causes, and the self cannot be harnessed for purposeful actualization. If we seek a demonstration of the latter, think of our first major combative encounter in the game with Iudex Gundyr, whose body, midway through the fight, unleashes a chaotic mass of black, writhing forms uniformly termed the Pus of Man. The Pus of Man reappears during our initial exploration of the High Wall of Lothric, this time out of a couple of standard Hollows. Once the Pus of Man has emerged and is aware of us, any semblance of the host’s self-control is usurped by total destructive instability.

In our own bodies, pus is the result of infection, and its treatment is its release from an abscess; but the Pus of Man, thus released, does not allow for healing, because its internal causes, a symptom of a shared spiritual crisis, have gone unchecked for too long, and so it assumes complete control. It is, on one level, a coup by the id, which Freud describes as “...a chaos, a cauldron full of seething excitations. ...It is filled with energy reaching it from the instincts, but it has no organization, produces no collective will, but only a striving to bring about the satisfaction of the instinctual needs subject to the observance of the pleasure principle.” It would also not be inappropriate here to look to the concept of humorism, wherein humans’ personalities are regulated by vital body fluids, and where we find (within the most popular, four-component model) “black bile”, a secretion whose associated qualities are coldness and dryness and whose effect is melancholia: “a mental condition characterized by extreme depression, bodily complaints, and sometimes hallucinations and delusions.”

The Cathedral of the Deep is representative of the same crisis, but diverges in the shape of its consequence. If the Pus of Man recalls Manus, whose “humanity went wild”, and signifies degradation with “seething excitations”, then the Cathedral of the Deep -- a religion and a site -- signifies degradation with stagnation. Inside the Cathedral, we find that its nave and south transept is thick with liquidized decay, the perimeters encrusted by mounds of corpses. These are the matter-of-fact results of both mortification of the flesh (done by flagellation) and Aldrich’s cannibalism, prior to his relocation. What’s relevant here is the material stasis. Richard Pilbeam, in his video “The Bastard’s Curse”, compares aspects of the Deep faith to those of Shinto, placing specific emphasis on the cleansing properties of water. He notes: “Water will wash away impurity, but only if the water remains in motion.”² The motion of the water is the motion of a dynamic, reciprocal spirituality. Our own bloodflow requires circulation.

All of this talk of the body, ruptures, and liquid brings us back to Aldrich, the Devourer of Gods. Despite his title, the only god we are explicitly aware of Aldrich having consumed is Gwyndolin; but the sheer extent of rotting flesh and bones (some, no doubt, of mortals) in Aldrich’s current habitat, the appropriated chancel of the great Anor Londo cathedral, is evidence of innumerable, unseen feasts. Inspecting the soul of Aldrich, we are told that when he “...ruminated on the fading of the fire, it inspired visions of a coming age of the deep sea. He knew the path would be arduous, but he had no fear. He would devour the gods himself.” It again behooves us to approach the matter in terms of symbolics, poetic substitutions, and understand this envisioned age as a radically desacralized state of being, one where the Age of Fire has been permanently entombed, replaced by a humanity misled by vacuous obsessions which is then itself overcome by what those profanities manifested. “In time, those dedicated to sealing away the horrors of the Deep succumbed to their very power,” the description for a robe worn by deacons of the Cathedral of the Deep reads. “It seems that neither tending to the flame, nor the faith, could save them.”

Aldrich, as a deiphagous agent (although perhaps not godly to begin with himself), of course has deicidal associations.³ Most pertinent would be the filicide of the Titan Cronus, who devoured his children in fear of his prophesied deposition. We are told that Aldrich “had no fear”, but this is, I think, an ironic statement. In the same way that we may compulsively eat in order to fill an emotional-existential void, Aldrich feeds to fill the void of Dark Souls 3 which has, as M. Christine Boyer writes in reference to modernity, “[closed] off any meaningful access to the past.” Yet his murderous feasting prepares himself and the world for another void: that of the “age of the deep sea” (to be slightly literal for a moment: what, on Earth, is more akin to a void than the ocean’s depths?). At the Ringed City we observe resonances of this behavior in the locusts, who primarily inhabit the dim mire at the city’s bases (the resemblance to Oolacile’s predicament is unmistakable), and “were meant to beckon men to the dark with sermons, but most of [which] are unable to think past their own stomachs.”

We should also recognize that Aldrich did not act alone. He “had the desire to share with others his joy of imbibing the final shudders of life while luxuriating in his victim's screams.” Recall that certain deacons of the Deep are bloated, including the deceased Archdeacon McDonnell. These are ministers who have oftener partaken of feasts. So here is also a distortion of that communal principle wherein participants ingest the deity/deities and affirm life through its nearness to death. This ingestion recalls the older meaning of “embody”: “a soul or spirit invested with a physical form.” George Hersey writes, of the ancient Greeks and their sacrificial rituals, “Whatever form the victim or offering took, once it was [...] full of the god, [...] the divinity became too immense, too terrible, to be contained. It was necessary to break apart the offering. Yet even after death -- perhaps especially after it -- the animal’s carcass, the god’s container, was steeped in his presence. This is why the worshipers ate parts of it: the act was not just feasting, but communion. The worshipers’ own bodies combined with parts of the victim’s to express the fact that the god had entered them. The victim’s body parts were in fact ‘reconstructed’ now in a different way, by uniting the bodies of the worshipers.”⁴

There is no concern for any of these vitalizing affirmations with Aldrich and his followers. Indeed, we see that Aldrich himself has become “too immense, too terrible, to be contained” (just like those aforementioned “horrors of the Deep”), and so his body is coagulated hemorrhage. Constructive concepts such as selflessness, spirit, metousiosis are nullified, as the consumptive process, one of intense sadism, functions as its own end. Aldrich is both terribly and mundanely a narcissistic parasite. During our fight with him, he will burrow into the refuse of the arena to temporarily escape -- a tactic that is emblematic of his self-regressing psychology, where nothing matters except gorging, sleeping, and surrounding oneself with a playpen of mud to dive into and thus hide from the world. Remember, now, that Aldrich was canonized as a Lord and remains one. Hawkwood, a former member of Farron’s Undead Legion and a resident of Firelink Shrine, wryly and accurately comments that this was “...Not for virtue, but for might.” And when we venerate sheer might, we venerate persecution.

From this perspective, I think it is not an accident of phrasing when the description for human dregs, an object sometimes released by slain Deep devotees, says that they, once having sunk to the “lowest depths imaginable, [...] become the shackles that bind this world.” To bind something can mean to unify it, to adhere components together and provide a sort of structure; but this is done with shackles, items associated with repression and enslavement. It is another echoing of that “self-oppression misinterpreted as empowerment” (or, analogously, freedom). There may be no better conclusion to this essay than to remark upon Aldrich’s death at our ends. As the battle progresses, Aldrich’s body becomes enkindled, speckled by embers, to the extent that any zone he occupies catches on fire. This is not so different from Yhorm or the remaining Abyss Watcher; after all, they are Lords of Cinder too. But I believe that, for Aldrich, this can be read relative to the sacrificial ritual which ended with roasting specified parts of the animal and then eating them. Thus, when we kill Aldrich, even if we cannot adopt and atone for the sins of his actions, we can at least break that insatiable cycle and consign his body to the purifying fire -- so that we may, finally, take and imbibe his soul.

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¹ Dark Souls 2 quickly presents us with an example of this when a handmaid gives us a featureless human effigy and says, “Take a closer look... Who do you think it’s supposed to be? Think back, deep into your past. Yes, it’s an effigy of you.” Consider also the case of Miracles, which are not instructions but stories. Once read, they turn real -- fiction tangibly weaponized.

² See: Misogi and kegare. The concept of the sacred grotto is apposite, too, if we imagine that the latter-christened Cathedral of the Deep neighbors one. In Heavenly Caves, Naomi Miller writes, “Fascination with the grotto is rooted in the story of creation. While understood as a source of life and as a sacred spring in the classical world, in the Old Testament the grotto is often equated with the void and hence with chaos -- the formlessness that precedes the beginning. [...] ...within the Temple in Jerusalem, beneath the Stone of Foundation in the Dome of the Rock, was a cave known as the Well of Souls. This fountain of perennial water within the Temple may well allude to the cisterns and reservoirs known to be under the Holy Rock, but it also has metaphysical significance and refers to the mouth of the abyss identified with the subterranean torrent located at the earth’s center, from whence the rivers of Paradise went forth to water the four corners of the world...”

³ An example of deicide which is often not thought of as such is that of Christ, who, in his self-sacrifice as the human avatar of God, clears the way for a radically new covenant.

⁴ Walter Burket, in his book Homo Necans, posits that such sacrifices “were much later reenactments of primal ritual murders in which a god-king was killed and consumed.”

#DARK SOULS #dark souls 3 #aldrich #cathedral of the deep #lords of cinder

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walkingshcdow-a · 6 years

Note

🔥 gimme the salt on poto

Satly Saturday | Buckle Up. | Accepting!

Do you want ALL THE SALT or just some of it? Because i feel like I could write a dissertation on everything wrong with PotO and, more specifically, the Phandom and be only a diploma shy from my doctorate.

One of the things I’m incredibly angry about is that it is still an “unpopular opinion” that Meg Giry is anything but blonde and white. In the novel, she is described as “swarthy” with dark hair and eyes, but even if that were not the case, who does it harm to headcanon her as a WoC? I think it is much more damaging to ascribe white traits and white traits only to her, not only because in the Leroux text, she is not white, but because other interpretations of PotO, whether they be the stage show or a roleplay portrayal, should be more open to diversity in general. The world is diverse. And the world was diverse in the 19th century. Historians, novelists, and filmmakers tend to whitewash history and create a false monolith of Europe and the Americas, except when it furthers a particular narrative (typically revolving around the American South, even when the American South has no bearing on a story, like PotO, which takes place in a different country altogether). It’s disgusting.

The thing that gets me, though, is that the Phandom largely just accepts that Meg Giry is white and blonde. That’s the way it is in the stage show and since stage shows (and their subsequent film adaptations) are visual mediums, whereas novels rely on imagination, it’s “easier” to use images from the show to make aesthetics, fan art, etc. about Meg. It’s pure laziness most of the time; ignorance in other instances. This, to me, is dangerous in a different way than adamantly demanding Meg Be White for thinly veiled reasons tied up in racism. We know the latter is wrong. We take people to task on the latter. We demand more and better from our fandoms than casual, but intentional, racism. When it’s unintentional… or when it’s intentional because 99 percent of media including Meg Giry whitewashes her, we still hit that like button or that reblog button, instead of demanding better from our fandoms. I’m not calling for people to spam content creators with vitriol over their blonde, cherubic Meg Girys. I am calling for people to create more black Meg Girys, more Asian Meg Girys, more Jewish Meg Girys, more Latina Meg Girys, more Middle Eastern Meg Girys. Take what precious little Leroux gave us about her and expand your interpretation. Be kind to interpretations that are racially/ethnically different than the norm, or even than your own. The headcanons someone is posting about a Romani Meg Giry might be their way of connecting their own heritage to the text, of seeking representation that was hinted at in the book and destroyed in later interpretations. The fan art of a black Meg Giry might be a young woman’s way of seeing herself or her friends or her sisters in an art form (ballet) that has traditionally been unkind to WoC. Meg as a woman of color is so important - especially when you dare to mash up Leroux with ALW because the traits they each give her, when put together, create a complex and nuanced young woman that anyone might be happy to identify with. Whitewashing her takes that opportunity away from fans, especially young fans, who do not otherwise see themselves reflected in this beautiful melodrama. Ad who wants to be the gate keeper to a world of fun and joy? The ones we should be taking to task are the casting directors of PotO productions - especially in the US and UK, since those shows are most widely seen and publicized. Not just the ALW show (although I do hold the ALW show responsible for whitewashing Meg in the first place), but future productions of PotO by other creators.

I also think that for people who aren’t fans of Meg, who don’t pay her much mind, don’t understand why this is such a contentious issue for those of us who love her, whether we love her from Leroux, Webber, or another iteration. For me, the version I take issue with is the ALW version… largely because I believe ALW Meg to be a composite of Meg Giry, La Sorelli, and Cecile Jammes from the Leroux novel. You see traits of each woman reflected in ALW Meg. She’s aged up, perhaps not prima ballerina, but a principal dancer. She’s superstitious, but level-headed. Kind, almost maternal, but bubbly and fun. She’s bold and fascinated by the strange goings-on around her. If ALW had wanted to give her the blonde, blue-eyed good looks of a Barbie Doll, he would have done better to name her after Jammes, who has a peaches and cream complexion in the novel. He could have even named her after Sorelli, though this move would have been more difficult, since Sorelli was a principal dancer and not the daughter of one of Erik’s employees. No. He chose to name her after Meg Giry and elevate her to secondary character status. The least he could have done was make her look the part. It would not have been the first time a principal cast member in an ALW was a PoC. Ben Vereen played Judas in the Broadway debut of JCS. So, why so scared to cast a black woman (or, really, any WoC) as Meg Giry? Come on, ALW. Would it have been so hard? It could have started the conversation about race in period dramas or the conversation about racism in the fine arts (especially ballet) twenty or thirty years earlier. And even if it didn’t, PotO would still be the beautiful leviathan it is today.

Of course, I know that in a post-LND world, a lot of people have bigger complaints about Meg Giry’s treatment in modern stagings. I agree with them - the characterization of Meg Giry in LND is painful to watch. It’s inconsistent with what we know of her in the original show; it certainly is divorced from the novel in all ways. The flaws with Meg’s character in LND have nothing to do with the fact that she’s made into a sex worker (although that choice is questionable from a narrative standpoint, not a moral one. What does it add to Meg’s arc that she sold herself to help buy Phantasma? The implication that we’re meant to see her as lesser than Christine for it is the real moral quandary, But I digress). Rather, the flaws with Meg’s character stem from her being inconsistent with all previous and recognizable versions of her character and with the anti-feminist need to pit two women, who were previously the best of friends, against each other over a man… Not even a man who treats one or both of them right… like… it pits two best friends against each other over an abusive narcissist. It does no characters any favors, least of all poor Meg, who is made out to be needy, jealous, emotionally unstable… It does a poor job getting from Point A to Point B.

This bastardization of Meg’s character would probably seem like a great bullet to dodge, insofar as representation goes. I think it would be absolutely disgusting to cast a black woman as LND Meg, due to all the negative stereotyping that would end up clouding even the best performance. However, LND was not the commercial or critical success ALW hoped it would be. Not even close. It underwent a lot of rewritings, still was not highly successful, and (by and large) disappoints both fans of the original story and newcomers to the PotO story. It is nowhere near the cultural phenomenon that PotO is. And so, then, again I ask - why have we not seen a WoC in the role of Meg? It’s only very recently that we’ve seen PoC in the roles of Christine, the Phantom, and Raoul. Meg is still depicted as white. I’m hoping that the trend of diversifying Broadway is more than a trend, but instead a cultural shift in how Broadway appeals to the masses. I hope to see a WoC play Meg (and Madame Giry, who I’ve neglected to mention until now, woops) within my lifetime.

Honestly, I think that I only really started thinking about this critically two years ago when my Salt Squad and I got talking about representation in the Phandom, particularly in the RPC. I was rereading Leroux at the time and meditating on Kay (as one does) in my spare time and it occurred to me that if I wanted to see some change in the Phandom, I had to be a part of the side I wanted to see prevail. I had to be some of the change I wanted to see in the Phandom. So I took up Meg as a muse. I’m starting to see more and more racially diverse Megs in the Phandom and that thrills me. I want to @fillescharmxnt because her Meg is what I aspired for mine to be in so many ways. There are plenty of other fanartists, fic writers, and aesthetic makers who are doing such great things with recontextualizing Meg Giry for the 21st century.

I do want to include this disclaimer, though: just because someone is roleplaying, writing, drawing, headcanoning Meg as white, doesn’t mean that their ideas are without merit. There are plenty of very talented artists, writers, and bloggers who depict Meg as white. My goal is not to shame them - a lot of them do great work, both from a technical and emotional standpoint - but rather to invite them to the conversation about Meg Giry, race, and representation. I urge these fans to challenge their notions about Meg Giry and to be open to accepting ideas that are different from theirs. Even those of us who HC Meg as a WoC enjoy and support content with blonde Meg (like… can we talk about the Brazilian actress with the freckles?!). All I ask is that fans of white Meg Giry enjoy and support content with black/Asian/Jewish/Romani/Latina/Middle Eastern/Other Meg Giry in return.

Fans can question the media they consume. Fans can challenge the media they consume. But at the end of the day, it is the media that we create and ask to be created that make the most difference. The only way media gets created is if there is a demand for. Be willing to demand a more inclusive, more historically accurate depiction of Meg Giry and you will be rewarded with a creative explosion of fan created content.

#asks #meme response #((this is not what you asked for is it?))#tw: racism #fictioncoxnt

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adorkablephil · 6 years

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Some Final “Listen” Notes

I’ve been meaning to post this for ages, and so here it finally is: just some final notes about my Deaf!Phil/mute!Dan AU fic “Listen,” about the process of writing it, and about some resources you may want to check out. This is rather long, because I did a lot of research and have a lot of resources to offer, so I’ll put most of it under a cut.

Some General Comments and Thoughts

First, I wanted to point out a couple of statistics. Approximately 90% of deaf children are born to hearing parents, but only about 20% of those children’s parents learn to sign. I think that's incredibly sad. A lot of deaf children are not introduced to language as early as hearing children are, even though (statistically) babies can sign better at a younger age than they can talk. As a result, most deaf babies are denied language for the first few years of their life, which are a crucial period for linguistic learning. The current Deaf culture movement lobbies strongly for deaf children to be taught sign language from birth to give them the same opportunities for learning that hearing children have.

Second, I wanted to point out something that I learned about d/Deafness while researching this story. Many many many d/Deaf people do not consider their lack of hearing a "problem" that needs to be "fixed." Many are proud to be d/Deaf. I try to participate in the movement to raise awareness that deafness is not a disability or a handicap—it's just a different way of interacting with the world—and that Deaf culture is as valid and rich and beautiful as any other culture. They just use a different language.

Third, I wanted to say something about some of the words I used in this fic. While writing this story, I struggled constantly with using words like "say," "talk," "hear," "listen," etc., when I was writing about characters who did not use their voices to communicate. For example, "I don't want to talk about it," "He didn't know what he was going to hear" (before Dan "talks" about his past), etc. It didn't feel natural to always use "sign," when "saying something" isn't actually about producing sounds with your mouth—it's about communicating. In sign language, they have creative ways of dealing with this, so if someone were to sign, "I listened to him tell that story," they might use the ASL or BSL sign for "listen," but make the sign under their eye instead of under their ear ... showing that they “listened” with their eyes. It’s amazing how flexible, expressive, and creative sign language can be! (This example was thanks to Rogan Shannon's response to a question I left in a comment on one of his videos. A link to Rogan’s excellent YouTube channel is below.)

Some Specific Videos and Resources

Some specific videos and resources that I found particularly interesting:

“What is it like to be DEAF?”: a truly phenomenal, moving, very personal video by a man named De'Angelo Brown, talking about his painful experience growing up d/Deaf surrounded by people who did not understand or support him. His positive attitude despite such a difficult past is inspirational. The video is just one man signing, in black-and-white, with no background, but this video is incredible, really. I recommend that everyone watch this.

"Deaf Lens": a TEDTalk by Wayne Betts Jr., an innovative deaf filmmaker. I feel like my Deaf!Phil could totally have ended up being a filmmaker like this later in his life.

"What's It Like Being Deaf In College?": a video about d/Deaf students' experiences in mainstream universities, which made me think about my Deaf!Phil at the University of York.

Camp Mark Seven: a deaf film camp, created entirely for deaf kids who want to become filmmakers. They sometimes make music videos, one of which—Pharrell Williams's "Happy"—went viral on YouTube for a while. Notice that they perform ASL *interpretations* of songs, not word-for-word translations, because word-for-word translation isn't really how sign language works. Facial expression, body language, and other visual cues contribute tremendously to sign language communication, and you can see a lot of that in Camp Mark Seven’s videos. I imagine my Deaf!Phil would have loved this camp when he was a kid!

"My Song": a beautiful, poignant short film about d/Deaf identity. I know I have recommended this film before, but I thought it was worth mentioning again, because it is so beautiful and amazing.

"The Enchanting Music of Sign Language": a fascinating TEDTalk by Christine Sun Kim, a deaf artist who uses sound as part of her art. So incredibly cool!

Wells Fargo’s commercial about sign language: Yes, I’m actually including a commercial here! Wells Fargo made a commercial about a same-sex couple learning sign language in order to adopt a deaf child, and it’s incredibly sweet and short enough that you can watch it without committing too much of your time.

“Opening Our Ears to the Deaf”: a TEDTalk by a hearing woman named Pamela Weisman about the hearing world’s difficulty in understanding, accepting, and interacting with the people who are deaf.

“Protecting and Interpreting Deaf Culture“: a TEDTalk by a Deaf woman named Glenna Cooper who was raised mainstream by parents who did not accept her deafness and tried to force her to fit into the hearing culture. She talks about her discovery of Deaf culture, language, and pride. She describes very entertainingly some of the difference between Deaf culture and hearing culture, such as the fact that Deaf people apparently tend to be very blunt and honest in comparison to hearing culture. She’s really funny and articulate and well worth watching!

There are a lot of other TEDTalks about d/Deaf issues, and so if you’re interested, I recommend just searching for “deaf TEDTalk,” and you’ll find lots of neat stuff.

YouTube Channels

These are my favorites of the YouTube channels I discovered while researching for this fic. I mentioned some of them in my previous notes post, but here I’ll give you a slightly different list of just my favorites, and with a bit of description of each so you can have a better idea of which ones you might be interested in checking out:

Rogan Shannon: Rogan is my favorite of the YouTube channels I discovered while writing this fic. He makes simple vlogging videos in which he just discusses various topics that interest him (always in ASL but with excellent captions). He talks about d/Deaf issues, LGBTQIA+ issues, books he's been reading, and other random stuff ... but he is always articulate and animated and intelligent and interesting. I can't recommend his channel highly enough. I subscribe to him and watch his videos pretty much immediately when they come out. He doesn’t have nearly as many subscribers as he deserves!

ASL Stew: A lesbian married couple—one Deaf and the other a hearing ASL interpreter—talk about various d/Deaf issues. Notice that though one of the partners is hearing, she usually does not SimCom in the videos & chooses instead to sign in ASL, then add a voiceover translation in editing. (They actually add voiceovers for both of them, though I believe the Deaf woman does not in fact speak orally, so no captions are necessary.) In fact, in one of their later videos the hearing partner discusses the issues with SimCom and expresses regret that she SimCommed in their earlier videos. They also have a side channel, ASL Stew Life, where they make videos about other stuff, mostly just about their lives (such as their current pregnancy), rather than about deafness-related issues.

Rikki Poynter: Rikki is, I think, the youngest of the YouTubers I’m listing here, which may make her more relatable for many readers of my fic. She often has really interesting things to say, and she’s a very active advocate for accessibility (especially good captioning of YouTube videos) and the D/deaf community in general. The two videos of hers that I found most useful in my research and particularly recommend are "From Being An Oral Deaf Adult to Using ASL" and "How I Discovered the Deaf Community.”

Jessica Kellgren-Fozard: Jessica posts a wide variety of content on her channel, including make-up tutorials, hair tutorials, commentary about vintage fashion, disability issues (including videos about accessibility and how to deal with specific disability issues like chronic nausea, because she has significant physical disabilities) as well as deafness related material. She’s absolutely beautiful and charismatic, with an incredible sense of style, and also occasionally posts charming videos that feature her much less fashion-conscious but still incredibly cool hearing wife, who is a dentist. Her channel isn’t ideal if you’re looking for sign language stuff, though, because she’s very oral and uses a very English-language-based version of sign language (called “SEE” or “Signing Exact English”) instead of actual BSL. Even when she signs, she speaks at the same time, so there are no captions needed.

Sign Duo: This is a channel featuring another deaf/hearing couple, but I actually primarily like that their channel because it mostly isn’t about D/deaf issues. When the channel first began, it was mostly about the fact that he’s Deaf and she’s hearing and how that affects their relationship, but now their channel is mostly just about these two young people (in their 20′s) living their normal lives in Southern California ... just the guy happens to be Deaf and the girl happens to be hearing. So they post videos about all kinds of stuff other vloggers post about, including their most recent videos about carving pumpkins for Halloween and doing some kind of spicy ramen challenge. It’s interesting and cool to see a Deaf/hearing relationship normalized. This is just a Deaf guy living his life with his girlfriend, like any other guy. Sometimes the girl translates for her Deaf boyfriend, but I still always turn on captions, because he often signs things she doesn’t translate.

CODA Brothers: CODA stands for "children of deaf adults," and they are a community whose place in the deaf/hearing world is an odd one, since even as hearing children they often grow up with sign language as their first language and continue to use it as their preferred language in adulthood. Many of them identify as part of the Deaf culture/community. The CODA Brothers channel is basically just two brothers in Minnesota, kind of wacky, who are hearing but were raised by deaf parents, and (like many CODA) they prefer to communicate through signing. They make humorous videos about lots of issues around d/Deafness as well as what it's like to be CODA (feeling like you don't really fit in with either the hearing or the Deaf community). They sign almost all of their videos and usually provide their own voiceovers ("for the ASL impaired"), but a lot of their humor is "inside jokes" that you only get if you're at least a little familiar with ASL, Deaf culture, CODA issues, etc. They're also often really sarcastic (such as in their "What Deaf people LOVE about Interpreters" video. I think their channel is primarily intended for a CODA audience, but I really like them. And if you’ve read my fic “Listen,” then you probably know enough about deafness, sign language, and Deaf culture to get a lot of their jokes.

Well, I think those are the last of my lingering notes from the writing of “Listen” that I’ve been meaning to share. I hope some of you find the information interesting and check out some of these videos and YouTube channels. Deaf culture is very interesting and unique, completely separate from hearing culture, and I think we could all be better informed and prepared to interact sensitively and respectfully with d/Deaf people we may encounter in our lives.

Thank you to everyone who expressed their growing interest in Deaf culture and learning sign language as a result of reading this fic. It meant a lot to me that my story impacted people’s awareness, acceptance, and understanding.

#deafness #deaf culture #deaf identity #phan deaf au #deaf!phil #mute!dan #deaf phil #mute dan #phanfiction au #au phanfiction

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mortimers-cross · 6 years

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LND Post 2 of 3

For this post, my aim is to give a play-by-play of the "highlights" of the production, as nearly as I can remember. I've been ridiculously overthinking how to write about such a widely-despised (with plenty of good reason) show, so I'm endeavouring to forget all of that and just describe the experience like one would about any other show. I went in expecting more or less a carbon copy of the revamped Australian production that was filmed and released on DVD a few years ago. Little did I know it had been revamped yet again for the Hamburg production! So, a mixture of those two is what we're getting in the US Tour, and I must say it works. There are still significant areas of weakness, ones that have been present from the beginning and, quite frankly, there's little left that can be done about it. This will be long, and there will be spoilers for the two people on earth who don't already know the entire plot.

With that in mind...

Act I

Prologue

"'Til I Hear You Sing"

I don't know that I'll ever grow used to this song being the first in the show. However, it's certainly better than Mme Giry wandering around Deserted Phantasma and Fleck's cheesy transition into the main narrative: "Remember how it was? Remember??? (HINT HINT The rest of the show will be a Flashback, I hope you understand clearly now, I CLEARLY said the keywords Was and Remember!)." Still, having spent eight years being used to Ramin's rendition, it's difficult hearing anyone Not-Ramin perform this song right off the bat, before spending the whole show growing accustomed to their voice. Still, Gardar Thor Cortes was wonderful.

Scene 1: Coney Island 1907

"The Coney Island Waltz"

The Trio (Fleck, Squelch, Gangle) were phenomenal throughout - voices, faces, goofy antics, everything. Their tight harmonies on the eerie-sounding trio-bits...YES. Apart from the few lines sung by the Trio, this scene remains mainly instrumental. And it's where The Set is first revealed in all its monstrous, shiny, spectacular spectacle. I can't remember exactly at what point in the music this happens, but the stage suddenly bursts into life - carnival lights come on, the ensemble wander about dressed as various performers and hawkers, and my favourite bit, The Carousel (one of the animals is a White Boar, probably actually a warthog, but I am calling it a Whyte Boar because King Richard. End of story.). The Carousel is the first (if I remember correctly) set piece to showcase the Turntable, which will be present throughout the show (and at times make me very nervous for the performers' safety).

It was this scene that indicated to me that, although my friend and I were in theory only watching this show for the music and weren't expecting much otherwise, this was going to be a much more exciting production than we'd anticipated.

Scene 2: Onstage at Phantasma

"Only For You"

This, of course, is one of the cheesy 'Erik's Cheap Vaudeville Trash' scenes/songs from which one doesn't expect much to begin with. But it is the first time you hear Meg's voice. Mary Michael Patterson is amazing (get used to it, they were all amazing) - come to think of it, she may have been my favourite voice in the entire cast. Maybe. And it's hard not to at least be entertained by the stunts and antics in this scene.

Scene 3: Madame Giry's Office

"Mother, Did You See?"

This is one scene whose Aussie Revamp Changes disappointed, and still disappoint me. It probably does flow better this way, with Giry griping about Erik behind his back rather than actually to his face (though she'd probably not be afraid in the least to complain to his face). Hmm, come to think of it, it's more like Erik wouldn't bother hanging around with the Girys all that much except when necessary. Still, I liked this scene as Giry Confronts The Phantom, because it meant more Erik-solos. They took away Erik-solos and gave them to the Girys. Boring.

"Christine Disembarks"

No idea why the Playbill has this listed under "Giry's Office," when, uh...she clearly didn't walk right off a ship into Giry's office. Oh, well.

This scene is always entertaining with all the reporters running around throwing out so many wellknown names...and then there's "CHRISTINE!!" Dramatic Lights...reminds me of Norma Desmond's "YOU there..." entrance, except there is of course NO comparison, please don't kill me.

It's also sad because you see Raoul and Christine for the first time and notice all is not well with them.

Scene 4: Pier 69

"Arrival of the Trio"

"The Journey to Coney Island"

Not much to add. See "Christine Disembarks." Oh, and love Erik's shameless "Come to me, Angel of Music" plug just before transitioning to the hotel.

Scene 5: The Hotel

"What a Dreadful Town!"

The (short) transition from "Journey to Coney Island" to this remains one of the show's most epic moments. Any and all opportunities to showcase that amazing orchestra, feature specific instruments, etc - take them all! We'll eat it up!

Cue Raoul's first big Showcase My Voice moment. Sean Thompson is perfection. Unfortunately the song indicates Raoul has become a hardened, angry man with a bent for too much drinking. But, but but - here comes one of those wonderful changes - he actually relents and sits with Gustave to look at the toy music box, and even attempts making conversation about said music box. It's only for a few seconds and gets interrupted by someone at the door, but it was a much appreciated few seconds. What They Did to Raoul (or, I suppose, what Forsyth did to Raoul) remains one of the show's most upsetting aspects.

"Look With Your Heart"

Have never cared for this song, and still don't. But the scene itself is sweet.

"Beneath a Moonless Sky"

There's no helping this song. It needs to go. It tried to be another "Point of No Return," and failed miserably and embarrassingly.

"Once Upon Another Time"

Not the deepest or most profound lyrics ever written, but those tight harmonies! "We love, we live..." sends shivers down my spine every time. And Gardar and Meghan's voices complement each other so well!

"Mother, Please, I'm Scared"

This bit is meant to be nerve-wracking on so many levels... Erik's first time meeting Gustave, Erik threatening to make him "disappear" if Christine won't sing for him... But in reality this scene makes me collapse into hysterical giggles.

Erik setting Gustave up on the railing and Christine freaking out that he's going to fall - classic Mum and Dad right there.

But this is the best bit: "Who ARE YOU?!" "IIIiiiiiiiii am your ANNNNNNGEL of MUUUUSIC, and I am DYINNGGGGGG, Christine!!!!!1111oneoneone.” There's really no way to deliver these lines and NOT sound cheesy, so poor Meghan and Gardar did their best. But his delivery of this silly line showed one of his great qualities - he's very expressive with his arms. He's running towards her with arms extended zombie-style while crying "Iii am your angel of music..." It's hard to describe, but it was brilliantly amusing.

Scene 6: Backstage

"Bathing Beauty Rehearsal"

"Dear Old Friend"

Not much to say here... This song is always entertaining. Raoul's "I need a DRINK" line gets me every time.

Scene 7: The Lair

"Beautiful"

So, so so many surprises happened in this final scene of Act 1. I had no idea there had been any significant changes here. Gustave is singing "Beautiful," when all at once he begins playing the ending of "The Phantom of the Opera." And then proceeds to sing some of it. I began hyperventilating here and didn't really stop until intermission.

"The Beauty Underneath"

Admittedly, the transition from New-Beautiful to Beauty Underneath isn't the smoothest transition in the world, but it hardly matters.

New-Beauty Underneath is...wow. Although I have a certain fondness for the original London version, it always seemed rather out-of-place. This version fit so well, and the whole scene overall is one incredible, if overwhelming, spectacle. My only real complaint is that it's so "chaotic" it's hard to follow at times. I think, though, that's sort of the point.

Here is a scene where the Turntable seriously stressed me out. Gardar, crouched down with his hands on Casey's shoulders, does this backward-crouching-walk on the Turntable going the opposite direction. It feels like this walk lasts forever (in reality it's probably not long at all) and he seems to be walking so fast and the whole time you just think he's going to end up falling on his rear, bringing Casey down with him, and getting trampled. Yes, yes, I'm sure they had everything under control. But it was nerve-wracking to watch.

"The Phantom Confronts Christine"

I've loved this scene since the original cast album, and still do. I like how they've added Erik asking for forgiveness and giving Christine permission to leave, but her choosing to promise him that she'll sing first (foolish as that promise may have been). And the bit about Gustave being his "saving grace" - one of the only good things about the entire plot.

"Ten Long Years"

I always thought this was a bizarre way to end the act, but it seemed to work here. It helps that Karen Mason is a Powerhouse of a voice.

To Be Continued

#Love Never Dies #Love Never Dies US Tour #Hint: It's Shiny

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likelightinglass · 7 years

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Riverview High School Phantom

@rjdaae here’s my review for any interested :)

So yesterday night I saw my first high school production of phantom of the opera. The cast and crew did a spectacular job! Particularly wonderful was the scenery and lighting, the scene shifters did great work.

The cast was much more vocally talented than I would have expected with a high school production. Christine and Carlotta being the standouts for female vocalists and the Phantom and Piangi for males.

I’m not used to writing reviews, so here’s a collection of thoughts in no particular order:

1. The actress playing Christine was extremely short and petite in stature and the actor playing the phantom was very tall with broad shoulders and a large build, so the difference in size was pretty funny. The point of no return sequence ended with the phantom literally picking Christine up and just tossing her over his shoulder and the audience, myself included, found it pretty hilarious.

2. During the title song when Christine and the phantom are walkimg/boating to the lair, the scene shifters are wearing gargoyle masks. The scenery was very clever, consisted of 5 very large boards painted to look like stone and moving back and forth and over to create the illusion the characters were winding their way through a labyrinth and was very well done. I’m not sure why the scene shifters were gargoyles though, Christine visibly reacts to them and is clearly frightened.

3. Masquerade was superbly choreographed but couldn’t help but be distracted by the fact that some of the cast was wearing 1980s style party dresses. All in all the costuming was great though, I have no complaints about the variety of costume and besides this scene, was mostly period appropriate. Oh and during masquerade Raoul was dresses in his orchestra/marching band outfit. Christine wore a white dress and Angel wings. The phantom had his white half mask and a red coat, in a circus ringleader style.

4. The true scene stealers were Carlotta and Piangi. No complaints whatsoever about either actor, costuming, make up vocals and acting were all out of this world. If I had to pick a standout from the whole show most definitely them. She had the audience cracking up with the way she performed the “these things do ‘appen?!?!” Scene. Piangi can be a throwaway character in some performances but this actor went above and beyond.

5. At the end of masquerade the cast made an odd blocking choice. The phantom entered wearing a particularly hideous hat. I don’t know hat types but it was like a bowler hat but…..worse is the best way I can think to describe it. Instead of giving the management his score for don Juan triumphant he takes off his hat and throws it the managers like a frisbee. Is the score in the hat? Are instructions for locating the score in the hat? No idea. Maybe he wanted to get rid of the hat.

6. Makeup for the phantom was very subtle. I saw it pretty up close from where I was sitting and whoever did it did a great job, but it was likely difficult to see anything from further back. For a high school production though it was good, the effort was clearly there. Apparently the mask was custom made and looked great. Excellent job on that.

7. Another odd blocking choice in the final lair scene. At the very end, after the phantom says “make your choice” Christine immediately runs to Raoul and begins fussing over/hugging him. She then sings “pitiful creature of darkness/what kind of life have you known” to Raoul, with her back to the audience, while the phantom picks up the pages of his score she had previously thrown to the ground on the other side of the stage. Only towards the very end of her lines does she turn towards the phantom, then walks over and kisses him. I just thought that was an odd choice because it made the kids seem more like an afterthought than being genuinely moved to compassion.

That’s all I can think of off the top of my head! Let me know if anyone has any specific questions and I’ll happily answer! All in all it was a great show and I really enjoyed it. I might be seeing it again next week.

#riverview high school #phantom of the opera #high school theater #musical theater #review

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captainblogger100posts · 6 years

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Nature Trump Calls for ‘Comprehensive’ F.B.I. Inquiry of Kavanaugh Accusations but ‘Within Reason’

Nature Trump Calls for ‘Comprehensive’ F.B.I. Inquiry of Kavanaugh Accusations but ‘Within Reason’ Nature Trump Calls for ‘Comprehensive’ F.B.I. Inquiry of Kavanaugh Accusations but ‘Within Reason’ http://www.nature-business.com/nature-trump-calls-for-comprehensive-f-b-i-inquiry-of-kavanaugh-accusations-but-within-reason/

Nature

Video

President Trump, in announcing a new trade deal with Canada and Mexico, also fielded questions — including a combative exchange with a reporter — about the ongoing investigation into the Supreme Court nominee, Judge Brett Kavanaugh.Published OnOct. 1, 2018CreditCreditImage by Al Drago for The New York Times

WASHINGTON — The White House has authorized the F.B.I. to expand its abbreviated investigation into sexual misconduct allegations against Judge Brett M. Kavanaugh by interviewing anyone it deems necessary as long the review is finished by the end of the week, two people briefed on the matter said on Monday.

The new directive came in the past 24 hours after a backlash from Democrats, who criticized the White House for limiting the scope of the bureau’s investigation into President Trump’s nominee for the Supreme Court. The F.B.I. has already completed interviews with the four witnesses its agents were originally asked to talk to, the people said.

Mr. Trump said on Monday that he favored a “comprehensive” F.B.I. investigation and had no problem if the bureau wanted to question Judge Kavanaugh or even a third accuser who was left off the initial witness list if she seemed credible. His only concerns he said, were that the investigation be wrapped up quickly and that it take direction from the Senate Republicans who will determine whether Judge Kavanaugh is confirmed.

“The F.B.I. should interview anybody that they want within reason, but you have to say within reason,” Mr. Trump told reporters in the Rose Garden after an event celebrating a new trade deal with Canada and Mexico. “But they should also be guided, and I’m being guided, by what the senators are looking for.”

The revised White House instruction amounted to a risky bet that the F.B.I. will not find anything new in the next four days that could change the public view of the allegations. Republicans have resisted an open-ended investigation that could head in unpredictable directions. But the limited time frame could minimize the danger even as it heightens the likelihood that F.B.I. interviews do not resolve the conflicting accounts.

Mr. Trump said he instructed his White House counsel, Donald F. McGahn II, over the weekend to tell the F.B.I. to carry out an open investigation, although he included the caveat that it should accommodate the desires of Senate Republicans. Mr. McGahn followed through with a call to the F.B.I., according to the people briefed on the matter.

“I want them to do a very comprehensive investigation, whatever that means, according to the senators and the Republicans and the Republican majority,” Mr. Trump said. “I want them to do that. I want it to be comprehensive. I think it’s actually a good thing for Judge Kavanaugh.”

Asked if the F.B.I. should question Judge Kavanaugh, Mr. Trump said, “I think so. I think it’s fine if they do. That’s up to them.”

As for Julie Swetnick, the third accuser who has alleged that Judge Kavanaugh attended parties during high school where girls were gang raped, Mr. Trump said he would not object to her being interviewed. “It wouldn’t bother me at all. Now I don’t know all three of the accusers. Certainly I imagine they’re going to interview two. The third one I don’t know much about.”

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Judge Brett Kavanaugh arriving to testify before the Senate Judiciary Committee in Washington last Thursday.CreditErin Schaff for The New York Times

He added that he understood she had “very little credibility” but added that “if there is any credibility, interview the third one.”

Mr. Trump ordered the one-week F.B.I. investigation on Friday after Senator Jeff Flake, Republican of Arizona and a key swing vote on the nomination, insisted that the allegations be examined before he committed to voting to confirm Judge Kavanaugh on the floor. But the White House and Senate Republicans gave the F.B.I. a list of just four people to question: Mark Judge and P.J. Smyth, high school friends of Judge Kavanaugh’s; Leland Keyser, a high school friend of his main accuser, Christine Blasey Ford; and Deborah Ramirez, another of the judge’s accusers.

Mr. Flake expressed concern on Monday that the inquiry not be limited and said he had pressed to make sure that happens. “It does no good to have an investigation that gives us more cover, for example,” he said in a public appearance in Boston. “We actually have to find out what we can find out.”

In interviews, several former senior F.B.I. officials said that they could think of no previous instance when the White House restricted the bureau’s ability to interview potential witnesses during a background check. Chuck Rosenberg, who served as chief of staff under James B. Comey, the former F.B.I. director, said background investigations were frequently reopened, but that the bureau decides how to pursue new allegations.

“The White House normally tells the F.B.I. what issue to examine, but would not tell the F.B.I. how to examine it, or with whom they should speak,” he said. “It’s highly unusual — in fact, as far I know, uniquely so — for the F.B.I. to be directed to speak only to a limited number of designated people.”

In his comments on Monday, Mr. Trump again accepted Judge Kavanaugh’s denials and portrayed the process as deeply unfair to his nominee. But he added that he would reconsider the nomination if the F.B.I. turned up something that warranted it.

“Certainly if they find something I’m going to take that into consideration,” the president said. “Absolutely. I have a very open mind. The person that takes that position is going to be there a long time.”

Mr. Trump made clear, however, that he would not take into consideration concerns of Senate Democrats in fashioning the scope of the F.B.I. inquiry. Instead, he expressed indignation that Democrats were questioning Judge Kavanaugh’s youthful drinking and suggested some of them were being hypocritical because they themselves abuse alcohol.

“I happen to know some United States senators, one who’s on the other side who’s pretty aggressive,” he said. “I‘ve seen that person in some very bad situations,” which he called “somewhat compromising.”

He would not identify whom he meant, but he did later single out Senator Richard Blumenthal, a Democrat from Connecticut, a favorite target, for misleading the public for years about his military service during the Vietnam War. “This guy lied when he was the attorney general of Connecticut,” Mr. Trump said. “He lied.”

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Christine Blasey Ford testified about her sexual assault allegation against Judge Kavanaugh last week.CreditGabriella Demczuk for The New York Times

The president was referring to a 2010 article in The New York Times reporting that Mr. Blumenthal had told audiences that he had “served in Vietnam,” implying he had fought in the war, when in fact he served in the Marine Reserve in the United States at the time. Mr. Blumenthal noted that he did serve in “the Vietnam era” but said he took “full responsibility” for what he called “a few misplaced words.”

The president went further, saying that Mr. Blumenthal had boasted of fighting in Da Nang. “We call him ‘Da Nang Richard,’” he said. “And now he’s up there talking like he’s holier than thou.” In fact, the Times article did not report that Mr. Blumenthal had ever claimed to fight in Da Nang or any other specific battle. Mr. Trump also said incorrectly that Mr. Blumenthal dropped out of his Senate race as a result but won anyway.

Mr. Trump’s comments came at the same time that Senate Republicans released a five-page report questioning the account of Dr. Blasey, the California university professor who also goes by her married name Ford. The report was written by Rachel Mitchell, the Arizona sex crimes prosecutor hired by Republicans to handle the questioning of Dr. Blasey and Judge Kavanaugh for them at last week’s Senate Judiciary Committee hearing.

Dr. Blasey said at the hearing that a drunken Judge Kavanaugh pinned her to a bed, groped her, tried to take her clothes off and covered her mouth when she tried to scream during a high school party in the 1980s.

“A ‘he said, she said’ case is incredibly difficult to prove,” Ms. Mitchell wrote. “But this case is even weaker than that.” The report noted that the other people Dr. Blasey identified being at the gathering did not remember anything like what she described and it pointed out other inconsistencies that it suggested undercut her credibility.

“I do not think that a reasonable prosecutor would bring this case based on the evidence before the committee,” Ms. Mitchell wrote. “Nor do I believe that this evidence is sufficient to satisfy the preponderance-of-the-evidence standard.”

The lack of corroboration has complicated Dr. Blasey’s story. Not only has Judge Kavanaugh denied her accusation, the other boy she identified being in the room at the time, Mr. Judge, has said that he did not remember anything matching her description and that he never saw Judge Kavanaugh mistreat women. Two other people Dr. Blasey recalled being elsewhere in the house then, Mr. Smyth and Ms. Keyser, also told the committee in written statements that they did not remember the party in question, although Ms. Keyser has separately told The Washington Post that she believed Dr. Blasey, a point not made in Ms. Mitchell’s report.

Ms. Mitchell also focused on other seemingly less significant distinctions, such as the fact that Dr. Blasey was described as afraid to fly but has nonetheless flown to Washington and other destinations.

Ms. Mitchell argued that Dr. Blasey was inconsistent because she testified that she told her husband she was the victim of “sexual assault” but told The Post that she had told him she was the victim of “physical abuse.”

Ms. Mitchell did not explain why she thought “sexual assault” and “physical abuse” were inconsistent and she incorrectly implied that Dr. Blasey used the phrase “physical abuse” when in fact those words were not in quotation marks in the Post article and were therefore the reporter’s paraphrase. Moreover, The Post attributed that to her husband, not to Dr. Blasey.

Ms. Mitchell also made much of the fact that Dr. Blasey said she could not remember whether a polygraph test that she took in August occurred on the day of her grandmother’s funeral or the day after, nor could she remember whether it was recorded. And she could not remember whether she showed notes from her therapist to a Post reporter or simply described them.

Maggie Haberman and Sharon LaFraniere contributed reporting.

Follow Peter Baker on Twitter: @peterbakernyt.

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Read More | https://www.nytimes.com/2018/10/01/us/politics/trump-fbi-kavanaugh.html |

Nature Trump Calls for ‘Comprehensive’ F.B.I. Inquiry of Kavanaugh Accusations but ‘Within Reason’, in 2018-10-01 19:39:16

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internetbetterforall · 6 years

Text

Nature Trump Calls for ‘Comprehensive’ F.B.I. Inquiry of Kavanaugh Accusations but ‘Within Reason’

Nature

Video

Asked if the F.B.I. should question Judge Kavanaugh, Mr. Trump said, “I think so. I think it’s fine if they do. That’s up to them.”

Image

Judge Brett Kavanaugh arriving to testify before the Senate Judiciary Committee in Washington last Thursday.CreditErin Schaff for The New York Times

He added that he understood she had “very little credibility” but added that “if there is any credibility, interview the third one.”

Image

Christine Blasey Ford testified about her sexual assault allegation against Judge Kavanaugh last week.CreditGabriella Demczuk for The New York Times

Maggie Haberman and Sharon LaFraniere contributed reporting.

Follow Peter Baker on Twitter: @peterbakernyt.

Be the first to know about big news. Sign up here for New York Times email alerts.

Read More | https://www.nytimes.com/2018/10/01/us/politics/trump-fbi-kavanaugh.html |

Nature Trump Calls for ‘Comprehensive’ F.B.I. Inquiry of Kavanaugh Accusations but ‘Within Reason’, in 2018-10-01 19:39:16

#Nature of Business in the Current Market

0 notes

algarithmblognumber · 6 years

Text

Nature Trump Calls for ‘Comprehensive’ F.B.I. Inquiry of Kavanaugh Accusations but ‘Within Reason’

Nature

Video

Asked if the F.B.I. should question Judge Kavanaugh, Mr. Trump said, “I think so. I think it’s fine if they do. That’s up to them.”

Image

Judge Brett Kavanaugh arriving to testify before the Senate Judiciary Committee in Washington last Thursday.CreditErin Schaff for The New York Times

He added that he understood she had “very little credibility” but added that “if there is any credibility, interview the third one.”

Image

Christine Blasey Ford testified about her sexual assault allegation against Judge Kavanaugh last week.CreditGabriella Demczuk for The New York Times

Maggie Haberman and Sharon LaFraniere contributed reporting.

Follow Peter Baker on Twitter: @peterbakernyt.

Be the first to know about big news. Sign up here for New York Times email alerts.

Read More | https://www.nytimes.com/2018/10/01/us/politics/trump-fbi-kavanaugh.html |

Nature Trump Calls for ‘Comprehensive’ F.B.I. Inquiry of Kavanaugh Accusations but ‘Within Reason’, in 2018-10-01 19:39:16

#Nature of Business in the Current Market

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blogparadiseisland · 6 years

Text

Nature Trump Calls for ‘Comprehensive’ F.B.I. Inquiry of Kavanaugh Accusations but ‘Within Reason’

Nature

Video

Asked if the F.B.I. should question Judge Kavanaugh, Mr. Trump said, “I think so. I think it’s fine if they do. That’s up to them.”

Image

Judge Brett Kavanaugh arriving to testify before the Senate Judiciary Committee in Washington last Thursday.CreditErin Schaff for The New York Times

He added that he understood she had “very little credibility” but added that “if there is any credibility, interview the third one.”

Image

Christine Blasey Ford testified about her sexual assault allegation against Judge Kavanaugh last week.CreditGabriella Demczuk for The New York Times

Maggie Haberman and Sharon LaFraniere contributed reporting.

Follow Peter Baker on Twitter: @peterbakernyt.

Be the first to know about big news. Sign up here for New York Times email alerts.

Read More | https://www.nytimes.com/2018/10/01/us/politics/trump-fbi-kavanaugh.html |

Nature Trump Calls for ‘Comprehensive’ F.B.I. Inquiry of Kavanaugh Accusations but ‘Within Reason’, in 2018-10-01 19:39:16

#Nature of Business in the Current Market

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internetbasic9 · 6 years

Text

Nature Trump Calls for ‘Comprehensive’ F.B.I. Inquiry of Kavanaugh Accusations but ‘Within Reason’

Nature

Video

Asked if the F.B.I. should question Judge Kavanaugh, Mr. Trump said, “I think so. I think it’s fine if they do. That’s up to them.”

Image

Judge Brett Kavanaugh arriving to testify before the Senate Judiciary Committee in Washington last Thursday.CreditErin Schaff for The New York Times

He added that he understood she had “very little credibility” but added that “if there is any credibility, interview the third one.”

Image

Christine Blasey Ford testified about her sexual assault allegation against Judge Kavanaugh last week.CreditGabriella Demczuk for The New York Times

Maggie Haberman and Sharon LaFraniere contributed reporting.

Follow Peter Baker on Twitter: @peterbakernyt.

Be the first to know about big news. Sign up here for New York Times email alerts.