#i know the article is a few months old but the point is still relevant

[berningsensation]

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#i know the article is a few months old but the point is still relevant #cnn #bernie #bernie sanders #media

[thankskenpenders]

TKP Addendums: The Endgame Arc (Archie Sonic #47 - #50)

I wasn't planning this at all, but the Endgame arc has become surprisingly relevant again for very stupid reasons. The main one being that my mortal nemesis, The Screen Rant Guy, wrote a short clickbait article comparing and contrasting the (only halfway finished) Imposter Syndrome miniseries from IDW to "Archie's best arc," Endgame... solely because we're nearing issue #50 and Starline used the word "endgame" in a random sentence. No, really, that's it. Penders himself then butted into a Twitter thread to proclaim that fans have declared the Endgame arc a classic and that it "will never be topped." In the past he's even called it "the greatest storyline in Sonic history."

So, you know what? Fuck it. It's been a long time, and it can't hurt to go back and write something more thoughtful about it, compared to my original play-by-play liveblog. I also never said my Addendums had to be in order. So... is Endgame actually a classic? Or even any good?

No, it still sucks. Thanks for read - no okay fine

It's easy to understand why Endgame always stands out in older readers' memories because it's practically the first arc where anything consequential actually happens in Archie Sonic

Sure, there were memorable events within the first 46 issues and their various spinoffs. The introduction of Knuckles, Mecha Madness, Sonic reuniting with Chuck, rescuing King Max, etc. But rereading my archive a few months ago, it really struck me how little actually happens in that span of time aside from those bits. The series was largely content to rely on its status quo. Robotnik would hatch an evil scheme, the Freedom Fighters would go on a mission to infiltrate Robotropolis (that never resulted in anything). They'd go back and forth like this for a few years. There's nothing inherently wrong with having a status quo, of course, and I'd absolutely take those first 50 issues over the shit Penders wrote later. But the general lack of dramatic consequences prior to this instantly made the Endgame arc stand out. It really does feel like the series finale it was originally written to be

Of course, I'm not reading this as a 9-year-old in 1997. I already know this isn't the end, but rather one of many status quo shifting milestone stories from a series that would last nearly 250 more issues. And like I said back when I first covered this arc seven years ago, the sources of drama here are mostly lame as hell

I'll avoid ranting about Sally's death too much here, but it has to be addressed. It sucks. It's dramatic and it grabs your attention for sure, but it sucks that Sally doesn't even get a heroic death, but rather a sudden anticlimactic death on a random mission with no clear goal, just because Penders thought she "cramped Sonic's style" and didn't know what else to do with her. She had already been largely reduced to a prize for Sonic and the ever-skeevy Geoffrey to fight over, but her fridging here only takes that even further. In her death she is fully transformed into a mere concept for the guys to fight over, not a character with any agency of her own. Hell, this could have been a setup for a twist where Sally has her own counter-plan at play and makes a triumphant return in the climax to reveal that she was actually alive the whole time, and then take part in the final battle with her friends. (The possibility that the report of Sally's death had been a lie was being teased as early as issue two of this arc.) I didn't like the similar storyline in her miniseries, but I'd take it over this. Instead, she's only thawed out at the very end to give Sonic a kiss. She's not a character, she's a reward for Sonic

Actually, a thing I couldn't do when I first covered Endgame was compare it to the series finale of SatAM, as I hadn't seen that at the time. And the difference there is night and day. In the show, instead of being written out, Sally is more present in the climax than ever, to the point where she literally shares Sonic's super speed, allowing her to be there at his side for their final victory. The difference is so stark that it's actually kind of hilarious

(Side note: Some of my critiques in the early days of this blog came off as more black-and-white than I would like. A few times I may have skirted a bit too close to the whole Strong Female Character angle, where a female character has to be an ass-kicking, "empowering" aspirational figure in order to be considered a good character. I'll say very bluntly that there's nothing inherently wrong with writing a story where a female character dies a pointless, tragic death, nor is it inherently bad to write characters with no agency in their lives. (I am a known Gundam liker.) The problem here is that the way Penders writes Sally is part of a larger pattern with his typical Baby Boomer view on gender roles.)

But, okay. I said I wasn't gonna dwell on this. Let's set the decision to kill Sally aside and look at what Penders and co. do with that twist. For one, it's there to shock the reader. And, yeah, it sure did that. But it also turns the early part of the arc into a murder mystery. A classic premise! So, is Endgame a good murder mystery?

Nope!

As I ragged on repeatedly in my original coverage, Sonic immediately gets blamed for Sally's death, and it's pure nonsense. Nobody believes that Sonic, the main hero of the team, has any motive to kill Sally. Because he doesn't. But they don't do anything to disprove it, even though this is a series where Sonic alone has been mind controlled into acting against his will, impersonated by his evil universe doppelganger, and replaced with a robotic duplicate - not to mention how often this shit happens to other characters. When Endgame began, it had literally only been seven issues since Sonic was put on trial for crimes he didn't really commit following the Mecha Madness event. And yet we're already doing this again

Even the question of who really killed Sally doesn't get to be a source of intrigue. None of the established characters end up being a traitor, despite the presence of a traitor being the entire focus of issue #46, and it isn't even an old returning villain or anything like that. No, it's Hershey. A brand new character introduced after Sally's death. But she didn't do it of her own free will - the whole thing was orchestrated by Drago, a confrontational member of the Wolf Pack the Freedom Fighters met literally one issue earlier who was already immediately suspicious, and King Max, who had been replaced by an Auto-Automaton off-screen... somehow. (It's revealed in the end that Robotnik had actually discovered the location to Knothole and sent troops to replace Max all the way back during "Battle Royale," while Sonic was out of town. Why didn't he just blow up Knothole then and there? Who knows!!!)

The actual explanation of how New Friend Hershey could possibly have killed Sally might be even more nonsensical. As Drago reveals, he tricked her into wearing a lifelike full body Sonic costume designed by Robotnik that has an augmented reality display built into the head that makes everyone look like Snively. So Hershey thought she was killing Snively, and everyone else thought she was Sonic because of the costume. Why did Hershey think she needed to come along on that mission and dress up as Sonic? Who fucking knows!! More effort goes into explaining what happened to fucking Crocbot over in Downunda - no, seriously, he gets two whole pages of exposition in #49!

Overall, the best explanation we get for why Robotnik's plan is so complex is that he just seems to be playing mind games to pit the heroes against each other while he finishes the Ultimate Annihilator. But, again, the story devotes very little time to this tension within the team because of how quickly the question of who killed Sally gets resolved, and the only ones who really bicker are Sonic and Geoffrey, who were already constantly at each other's throats long before this

And, yes, the subplot with new characters Hershey and Drago devolves into a domestic abuse story. As I said years ago, I think it's a good thing to teach kids how to spot abusive relationships, but this isn't a well told story about abuse. Drago is a one-dimensional exposition dumping villain who also hits and insults his girlfriend. It feels like it was mostly setup for Hershey to turn the tables and beat the snot out of him in the last issue (which admittedly is kinda satisfying after having to read about Drago for multiple issues), but no matter the intention it's just a bizarre inclusion in this already overstuffed arc

This is all part of what's probably the overall biggest problem with the arc, which is that despite being intended as a sendoff for the series, so much of it revolves around new characters over the actual main cast. Hershey, Drago, and Dr. Quack all get a lot of screen time throughout the arc and are integral to the plot. So is Geoffrey, but at least you could say he was an established character who had fans at that point. (This was years before folks realized the age gap between Geoffrey and Sally, or before Penders made That Tweet.) Most of the Freedom Fighters are totally passive for most of the arc. Rotor, Tails, Chuck, and Amy contribute basically nothing. Dulcy does exactly one absurd thing and then Sonic tells THE GIANT DRAGON she doesn't have to help fight. Antoine starts tailing Drago when he realizes something's probably up, but he and Bunnie are immediately caught and shipped off to literally the opposite side of the planet and kept out of the action until the finale. (How they manage to travel from the Midwest to Australia and back so quickly is a mystery, but nitpicks about travel time are the least of this story's problems.) Even Sonic himself doesn't contribute all that much to Robotnik's defeat in the grand scheme of things, and he spends most of the arc just going "man it's fucked up that Sally died and everyone thinks I did it"

But finally, we come to #50. (Or, well, the "Director's Cut" version of it released as Sonic Super Special #6, which has supplanted it in canon.) I'll stand by my statement that this final issue is the best part of this arc. Broadly speaking, it feels like a proper ending. I like the way it's bookended with Robotnik's arrival in the Acorn Kingdom and his death. It's got some action that feels appropriately climactic, and there's good Spaziante art mixed in there. At the very least, the last issue is in the shape of a good series finale, with the heroes starting at their lowest point and then rallying together to win once and for all

That decent climax is just massively let down by the story surrounding it. The cracks start to show very quickly with the infamous scene where Dulcy reveals that dragons are all walking lie detectors. (Sure would've been convenient to know that three issues ago!!!) Even in this expanded Director's Cut, they just need to get the ball rolling and convince Geoffrey of Sonic's innocence as quickly as possible. Then the Ultimate Annihilator is FINALLY set up after somehow not being mentioned the whole arc and the fighting begins. Again, another concession: Knothole finally being put in danger by Robotnik's invasion and then the U.A. is a smart move. An obvious one, but a good one to raise the tension nonetheless.

Then we get the final showdown between Sonic and Robotnik, which is still pretty good, and after that it's all plot cleanup. (Contrary to what I've been saying for years, it isn't actually said anywhere that Sonic uses his billionth ring to avoid getting blasted by the U.A. I'm not sure where I got that idea from, other than the image of him coming out of a ring.)

Said plot cleanup is just wall to wall nonsense, as if this story wasn't full of that already. The reveal that Knothole has been blasted three hours in the future, a fact that never ended up mattering. Author's pet and Bones McCoy expy Dr. Quack revealing that everything is actually HIS fault, because he's such a super genius inventor that his "Dream Watcher" had the exact part Robotnik needed for the U.A. and that's how he was able to locate Knothole off-screen. The fact that Snively was actually the one to ultimately defeat Robotnik due to him tampering with the U.A. off-screen. (He doesn't even get to gloat about it!) And, of course, the reveal that Sally was alive and recovering the whole time, because readers (rightfully) complained. They kiss so that she can be Sonic's prize for winning, despite the fact that he actually contributed very little to Robotnik's defeat. Roll credits

Yeah, Endgame just isn't good, y'all

Again, I get why this was a big deal to fans back in the '90s who read this as kids. This story has actual drama and stakes and consequences on a level that nothing leading up to it had. Sure, Sally's death was undone, but Robotnik's mattered. The problem is that, as with so many other Penders stories, it only has the shape of a good story. The actual details that make it up are all fucking nonsense. The needlessly convoluted plot, the focus on brand new characters and pet characters of Ken's over the actual main cast, the tonally bizarre soap opera drama. It's trash. And not even particularly fun trash

#tkp post #tkp addendums #StH 47 #StH 48 #StH 49 #StH 50

[makeste]

BnHA Chapter 311: Hand Gun

Previously on BnHA: Horikoshi was all “thinkin’ about dropping in some woke analogies of the very real and very presently relevant issue of racial profiling idk what do you guys think” and then shrugged and did it without waiting for an answer, and ngl it was a bit sudden, but I’m here for it. All Might was all “DEKU YOU NEED TO EAT” and Deku was all “OKAY” and took his hero bento and went to go stand dramatically on a tower in the rain whilst having some highly anticipated Vestige flashbacks. OFA II was all, “sup, I guess I’m not Kacchan... OR AM I,” and ngl I think he is?? Alternate universes anybody?? Hello??? But anyway, so OFA the First a.k.a. Yoichi was all “remember that time you guys rescued me from my evil brother and Two took my hand and we Had A Moment?”, and Two and Three were all “ahh yeah good times”, and it was very nice and very, very gay. The chapter ended with it being very unclear if Two and Three have actually lent their power to Deku yet or not lmao. Y’all need to get your shit together dudes.

Today on BnHA: Horikoshi is all “what if I gave a random bad guy a fucking tommy gun that shoots nails” and jesus christ calm down son. The Hawksquad, a.k.a. SQUAWK as per @hotchocolatier​, are all “time to drive aimlessly around town acting like Deku has a restraining order on us because that’s literally the best plan to combat the League we could come up with,” and I have no further comment. Hawks is all “idk about you guys but I want to know more about AFO and Tomura’s whole deal” and I can’t remember the last time I identified so strongly with one of these characters. All Might is all, “[EXPLODES???]”, and the chapter ends with that mysterious hot girl from the Tartarus breakout being all “HELLO I CAN TURN INTO A GUN AND I LITERALLY DON’T GIVE A FUCK” and (1) WOW, and (2) IT’S TRUE, SHE CAN, AND SHE REALLY DOESN’T. GODDAMN.

(ETA: so this wholly escaped my notice on the first go, and also has nothing to do with the chapter itself, but I only just realized that this chapter was scanlated by a new group, TCB Scans. they actually did a very good job, and I’m curious if they’ve found a new RAW provider, because the quality this week is actually crazy good in comparison to what we’ve been dealing with for the past few months. I’m gonna have to get caught up on what exactly happened here lol.)

so what will it be this week? more Vestige antics? more of Sad Nomad Deku standing on buildings and pretending like he’s some cool aloof antihero, as if he could fool us when we all know his hero backpack is secretly stuffed full with his nerd diaries and the remnants of all the hero bentos that All Might keeps giving him?? or, just putting it out there, just a crazy thought, but you don’t suppose we might actually cut back to U.A.? mmm. side-eyes emoji

maaaaaan I’m starting to get tired of this trend of beginning chapters by dropping in on random power-tripping civilians and/or Shindou lol. just once can we get a chapter that opens with someone I actually give a fuck about

oh at least Endeavor is here

A WHAT SUPPORT ITEM!??! HOLY SHIT DDLKJSLFKJL

lol somehow that’s more terrifying than bullets for me?? like I’m fully aware that bullets will fuck you up way worse and that in real life nail guns probably don’t work like this AT ALL and only have a range of like... hold up let me just google... up to 100 to 150 m/s and distances of up to 500m wait WHAT

okay wait. hold up. like I was expecting google to tell me nail guns only shoot a few feet at most, and instead the first search result is some CDC blog article that’s “dispelling” the “””myth””” -- please note my repeated sarcastic quotation marks -- that nail guns can fire 1400 feet per second, by explaining that actually they can fire anywhere from 315 ft/sec to 1,295 ft/sec, and that “it is in the pneumatic nail gun user’s best interest to handle these tools as if they were a firearm despite having a lower velocity” dlkjdslkjflkl

SO THAT SCENE IN IRON MAN 3 WHERE TONY RAIDS A HOME DEPOT AND BUYS A BUNCH OF RANDOM TOOLS AND SHIT AND GOES ON TO STAGE A ONE-MAN INVASION OF AN INTERNATIONAL TERRORIST’S FLORIDA MANSION HQ IS ACTUALLY TRUE. YOU’RE TELLING ME THAT THE FILM “HOME ALONE” IS ACTUALLY A DOCUMENTARY. “the Discovery Channel television program “Mythbusters” compared the penetration capacity of an airborne projectile shot from a pneumatic framing nail gun to that of a 9mm hand gun” HELLO YES AND A MERRY “WHAT THE FUCK” TO YOU AS WELL

anyway, so. there’s apparently a reason why the Number One hero, who can burn people with the intensity of a sun going supernova, is hiding here behind this concrete support column making frowny faces. nope. nuh uh. he ain’t about that. I don’t blame you buddy

so now he’s barrel rolling out of his hiding place and setting this dude THE FUCK ON FIRE because HELL NO. BAD ENOUGH I HAD TO WATCH THAT FUCKING MUSHROOM EPISODE LAST WEEK! YOU TAKE THAT SHIT SOMEWHERE ELSE

LOL look at his face

I know the context is actually him being all “I know I’m responsible for basically everything that happened and so that’s why I’m so grim and serious about this mission to set things right piece by piece,” but in my mind this pissed-off face is 100% all because this dude tried to shoot his eye out with a nail gun. look at that. you made him go full flame face again. beard and all. protecting his face so that it can hopefully melt any stray nails that get too close. nope nope nope

good lord. so what’s up next. let me guess the guy fighting Best Jeanist has like an atomic chainsaw or some shit

lol nope we’re just cutting back to Hawks and Jeanist chilling in the Jesla after they’ve wrapped things up

Jeanist has got some serious Groot energy you guys jesus christ he’s like 12 feet tall

oh snap someone threw a pipe at him now

today is just the chapter of Endeavor being assaulted by random DIY tools I guess

I mean, I get why they’re pissed at him obviously; I would be too lol. but tbh I also don’t really understand the “get out of here we don’t want your help” attitude that all of these people suddenly seem to have?? like it if were me, I would be fucking DEMANDING for him and the other heroes to be working round the clock to fix their stupid mess. I mean who else is gonna do it?? it’s their mess, I sure don’t want to be the one to clean it up instead. anyways but whatever lol

oh shit?

so they haven’t dropped the whole “OFA secret potentially gets revealed to the world” thing yet after all. that makes sense I suppose, it did seem like that whole thing wound up playing out a bit too easily

anyway so yeah

the locals are definitely none too happy. well at least Dabi’s got something to be cheerful about I guess

so now we’re cutting to the interior of the Jesla and they’re chitchatting about the current investigation

oh wow this actually makes a bit of sense now. so there was a reason they were keeping their distance from Deku

please note that even in this abstract Endeavor’s-Mental-Image-Of-Him panel, Deku’s eyes still don’t have the light in them anymore :( my poor son

also ftr I still think using Deku as bait in this particular sense is the shittiest idea ever ngl. like sure, let’s let the sixteen-year-old run around battling miscellaneous escaped prison convicts while we stay several kilometers away ON PURPOSE despite the fact that you’re using him as bait to draw out the Big Bad, who just a reminder can destroy anything with a mere touch and who you were all basically helpless against. what exactly are you all planning to do if Tomura or one of the other League VIPs actually shows up to retrieve him?? are you even keeping tabs on him at all in real time?? jesus

(ETA: well that escalated quickly lol.)

Horikoshi is all of a sudden dropping whole pages of exposition here and I can’t be bothered to summarize this lol so just,

a big fat YES to what Jeanist said, though. that’s why imo they would have been better off laying a trap at U.A. rather than just wandering around out in the open. I assume they’re trying to cut their potential losses because U.A. is full of students (and civilians), but those students also happen to be more capable than pretty much anyone else in the manga at this point. and tbh they’re already in life-threatening danger regardless of how things play out from here on, so they might as well at least try to use the few advantages they have right now. U.A. is almost certainly going to come under siege at some point anyway, so they might as well prepare for it

lol I don’t think I’m explaining this very well because I don’t have the patience right now to break it down point by point like it really ought to be, so for now I’ll just say that imo “U.A. siege” stands a good chance of being the eventual endgame even now, and so this whole “Deku runs around being bait” arc is really just killing time until then lol. like and subscribe for more rambling nonsensical takes such as this. maybe next time I’ll even put it all into one single sentence for maximum meandering senior citizen rant value

well it’s nice that they’re finally talking about all of this I guess

we readers have known all of this for months now but this confirms the heroes are finally caught up. ALSO, Hawks is so fucking smart, as always. kinda wonder if things would have played out differently if All Might had let him in on the secret a bit earlier. probably that’s why Horikoshi made damn sure they didn’t find out until after the War arc lol

OH MY GOD YOOOOOO HAWKS OUT HERE ASKING THE REAL QUESTIONS

“anyone else wondering why AFO bothered to raise Tomura as his fake heir for fifteen years when he was secretly planning on taking over his body the whole time” YES, [raises hand] lmao Hawks where the hell were you when I was debating this “AFO is the final villain and Tomura is just his pawn” thing on multiple occasions over the past several years lol

lmao seeing them debate the metaphysics of OFA and all of its mystical bullshit is seriously surreal you guys

JEANIST HAVE YOU CHECKED OUT MY META TAG I HAVE WRITTEN SO MANY ESSAYS. I ACTUALLY WAS PLANNING ON WRITING ANOTHER ESSAY ABOUT THE THING THAT I’M PRETTY SURE HAWKS IS ABOUT TO BRING UP, BUT I NEVER GOT AROUND TO IT WHOOPS, BUT MAYBE I WILL NOW LOL LET’S SEE HOW IT GOES

yes!!

WHICH AFO FUCKING ENSURED HE WOULD BE BY LITERALLY PLANNING OUT EVERY LAST DETAIL OF HIS FAMILY TRAGEDY, FROM SECRETLY GIVING TENKO THE QUIRK TO MAKING SURE NO CIVILIANS OR HEROES WOULD HELP HIM UNTIL AFO FINALLY STEPPED IN. I’M 1000% CONVINCED THIS IS THE CASE YOU GUYS. NOT JUST BECAUSE I’M NOT A FAN OF “THE WORLD IS A FUNDAMENTALLY SHITTY PLACE, ACTUALLY” TAKES BECAUSE MISTER ROGERS TOLD ME TO ALWAYS LOOK FOR THE HELPERS, BUT ALSO BECAUSE IT LITERALLY JUST DOESN’T MAKE A LICK OF SENSE OTHERWISE. THEIR ENTIRE HOUSE CAVED IN FFS, YOU’RE TELLING ME NONE OF THE NEIGHBORS FUCKING OVERHEARD THAT SHIT AND WENT “UMMMMMMMMM” AND WENT TO SEE WHAT WAS GOING ON?? “DIDN’T THERE USED TO BE A HOUSE HERE, AND LIKE A WHOLE FAMILY, AND SHIT?”

LIKE I’M SORRY, BUT IT’S ONE THING TO SAY IT’S REALISTIC THAT NOT A SINGLE PERSON WOULD ATTEMPT TO HELP THE WANDERING TRAUMATIZED CHILD AFTERWARDS (WHICH I DISAGREE WITH AS WELL BUT AT LEAST THAT’S MORE SUBJECTIVE), AND IT’S A WHOLE OTHER THING TO ARGUE THAT IT’S REALISTIC THAT NO ONE WOULD BE FUCKING NOSY. LIKE THAT’S A WHOLE DIFFERENT LEVEL OF “THAT’S NOT HOW ANY OF THIS WORKS” ENTIRELY LOL. anyway tl;dr AFO is a piece of shit and Tomura’s entire worldview is based on a magnificently intricate and savagely cruel lie more at 11

anyway so after all that ranting it looks like that wasn’t even what Hawks was talking about after all lol. I just went off for absolutely no reason lol oh well. instead it seems that Hawks is suggesting that Tomura’s carefully cultivated hatred might not yet have actually reached “can defeat OFA” levels even after all of that trauma. interesting!

don’t mind me, I’m just sitting here while my brain furiously scrambles to put together all the parallels between Hawks and Tomura that it never noticed before until exactly this second. like I’m not even sure that was the intent here at all (I need to check out another translation or two lol), but regardless my mind decided that now would be the perfect time to make the connection between these two twenty-somethings who both had horrific childhoods and spent years being molded by their respective manipulative guardians, and developed eerily similar “laugh at everything because what else can you do” coping mechanisms to deal with it all hmmmmm

anyway so they were talking more about their strategy, but now all of a sudden Jeanist’s phone is beeping??

AND NOW WE’RE CUTTING AWAY TO ALL MIGHT AND HIS MIGHTMOBILE DAMMIT so that means the call to Jeanist was actually something important then!! WAS IT BAKUGOU OMG. DOES YOUR INTERN WANT A WORD FFFKLFSJK please it’s been so long I just need a little crumb or two to tide me over lmao have mercy

anyway so All Might’s following the GPS tracking device he’s apparently got planted on Deku (which in my conspiracy headcanons he’s actually had for a long time now, like since before DvK2 lol because HOW ELSE WOULD HAVE HAVE KNOWN THAT THEY WERE FIGHTING EACH OTHER IN GROUND BETA, PEOPLE) and thinking angsty thoughts about Deku’s sucky life

AND NOW ALL MIGHT’S PHONE IS RINGING TOO?? BAKUGOU HOW MANY PEOPLE ARE YOU CALLING. “WHERE ARE YOU HIDING THE NERD GODDAMMIT”

OMG

lol is he under attack or is he just finally giving All Might the slip like we all know he SECRETLY PLANNED TO ALL ALONG oh my poor dumb angstmuffin

OMG AHHHHHHH WHAT

DID ALL MIGHT JUST FUCKING DIE LMAO NO OF COURSE NOT, BUT WHAT

WHAT IS HAPPENING OMG

THE FUCK IS THAT. AT LEAST IT’S NOT A NAIL

OH IT’S A SPEAKER!! OMG DID THEY TAKE ALL MIGHT HOSTAGE

“THEY’RE HERE” WELP, TIME TO SEE JUST HOW SHITTY THIS SHITTY PLAN REALLY IS LOL

AHHHHHHHHHHHHHHHHHH

SHE!!!!

omg. AND OVERHAUL JUST CHILLING THERE IN THE BACKGROUND ALL “WHAT DO YOU EVEN WANT ME TO DO I’VE GOT NO FUCKING ARMS” YEAH GOOD RIDDANCE LOL

DOES THIS GIRL HAVE ONE GIANT LEG OR WHAT, LIKE WHAT’S THE DEAL HERE

-- HOLD UP WAIT, THE GUN IS HER ARM, HOLY SHIT SHE CAN TURN INTO A GUN -- OKAY HOLD UP BECAUSE I NEED TO SAY THAT IN BIGGER TEXT BECAUSE !!!!

YOU GUYS, THE COOL TARTARUS GIRL IS BACK AND HER QUIRK IS “CAN TURN INTO A FUCKING GUN.” THIS IS NOT A DRILL!! MY BEST GIRL MT. GUN IS FINALLY BACK ON THE SCENE WITH HER QUIRK “CAN DO ANYTHING A GUN CAN DO.” “I HEARD Y’ALL WENT AND NAMED ONE OF YOUR HEROES ‘GUNHEAD’ EVEN THOUGH HIS HEAD ISN’T EVEN A GUN, LIKE WTF IS UP WITH THAT LET ME SHOW YOU HOW IT’S DONE” DANG OKAY

lmao only fifteen pages this week, and STILL NO KACCHAN (THEN WHO WAS PHONE!!!), but man I don’t even care because finally we’ve got a cliffhanger that’s actually deserving of being a cliffhanger! hot dog. okay then

#bnha 311 #endeavor #hawks (bnha) #takami keigo #shigaraki tomura #best jeanist #all might #midoriya izuku #cool tartarus gun transforming girl #bnha #boku no hero academia #bnha spoilers #mha spoilers #bnha manga spoilers #makeste reads bnha

[smallblip]

You asked, I deliver! Part II of Accidental baby acquisition💖 I lost one of the asks 😩 but anon who asked about baby Udo, I named the baby in your honour! Saddle up cowboys! I’m not good with sequels but here we are-

Babygate:

the scandal that implies that a certain boy band member cheated on his partner (another band member) and had a kid even when the mom was never pregnant.

- urban dictionary

—

Reiner thinks things are alright. Life is definitely picking up. Pieck still sends him excerpts of her dirty fanfiction to proofread, Bertholdt is still doing all he can to “retire at 30”, Annie might have eloped with said boyfriend. But he’s seeing Porco on the regular now, he’s really cute, he’s got a nice ass. Reiner can’t complain.

He’s also recently donated his Levi Ackerman standee. Only because it’s getting increasingly hard to reconcile the fact that he has a life sized cutout of his colleague’s boyfriend in his room.

What he can complain about is said colleague (and friend) dropping bombs on him. He’s one of the moderators of one of the bigger No Name servers. Sometimes he wonders if that’s a conflict of interest because, well, he knows the guy on a first name basis. But today he has other concerns. He sees his notifications blowing up and decides to go on the No Name server. And lo and behold. There’s a paparazzi shot of Levi and Hanji with a stroller taking a walk in a new channel called “MYSTERY FAMILY?”.

He cancels his plans with Porco. “Don’t text me for the next few hours, got a fire to fight.” He clicks send, and feels kinda bad, so he sends Porco really dank meme to appease him. (That doesn’t stop Porco from doing exactly what Reiner told him not to do and demanding an explanation every five minutes).

He forces himself to take a deep breath before texting Hanji-

“Hanji… I don’t mean to be rude but…

WHAT THE FUCK?”

—

So here begins babygate. A conspiracy theory that took the Internet by storm.

“Levi Ackerman had a secret marriage! He was keeping this from us from the start!”

“It’s a publicity stunt to keep No Name relevant during their hiatus!”

“It’s an elaborate scheme by the company to punish Levi for announcing the hiatus without their knowledge!”

“Levi’s mystery partner was sent by the lizard people to take control of his mind and produce half-lizard, half-human hybrid babies to take over the world! What a bitch!” (This is Hanji’s favourite).

And the internet’s favourite- this is all an elaborate scheme to cover up the scandalous love affair between Levi and Eren- the band’s guitarist.

“What the fuck?” Levi had said during dinner once, to which Reiner had to swallow his food and pretend he never read or actively looked up ereri content. Yes. Reiner knows the name of their ship.

Levi hadn’t been too worried before, but when pictures of them shopping for baby stuff leaked online, something snaps. Something snaps and Erwin tells him he needs more time to figure out the biggest PR crisis in No Name history.

It’s Levi. Levi is the PR crisis.

So in the meantime, no shock reveals, no more social media, (if possible) no more leaving the house with pregnant girlfriend in tow. “Don’t do ANYTHING.” Erwin had said, “especially not you!” Erwin had directed that at Eren, who suggested he makes an announcement. Erwin shudders. He remembers all the past scandals they got themselves into just because Eren, bless him, didn’t know when to shut up.

“I’m sorry…” Levi says to Hanji when they’re cuddled up on the couch watching a documentary on whale migration.

“Huh?” Hanji says, voice muffled through her incessant sniffling because “whales are delivered tail first, Levi! They wear their mothers like hats!”

He apologises for putting her through the mess that is him and his job. And Hanji smiles at him. He wonders if their kid will look like her. He’s hoping they would.

“Levi…” Hanji sighs, taking his face in her hands, “that night at the bar I thought to myself ‘this man has a face I would risk it all for’… I think this counts within the realms of ‘all’”

Levi scoffs, but a smile is threatening the corners of his lips. Erwin’s nagging over the phone fades a little and he sinks a little lower into the couch. He sighs one more time for good measure before saying-

“So… you wanna know which my favourite babygate theory is?”

—

“And you’re really not bothered by all this?” Reiner asks, in an emergency meeting that he had scheduled into her calendar. He hates that he’s packing things into her already busy schedule when she’s about to pop but, he figures it’s better now than when the baby’s actually out. He had booked a meeting room and everything, figuring if he projected some of the crazy shit they’re saying on the fan boards up on screen, Hanji would start taking this seriously. Because if Reiner knows anything, it’s that the fans will do anything to keep their ship afloat.

He scrolls past another post on the lizard people and Hanji gets him to pause.

“I mean… A little?” Hanji pinches her fingers together.

“Hanji…” Reiner sighs, “you and Levi discuss and rate babygate conspiracy theories you find online I don’t think you’re taking this seriously at all…”

Hanji looks at Reiner- an absolute state of panic. And she considers panicking for a moment. She’s read articles dissecting babygate and although they’re absolutely batshit, Hanji appreciates how well-researched they are. Which is a little scary. To be fair to Levi, he’s been trying to get her to worry. “I can’t keep you safe all the time, you have to be careful” like he’s going off to war somewhere. But it’s not in Hanji nature to worry about things like this. She’s a researcher at a lab who lived an ordinary life up until the point the universe hit her with a-

Sike! Levi Ackerman is your baby daddy! What are you gonna do about it?

And now she knows what headcanons and lemons are, and she really doesn’t know what to do with that knowledge. So Hanji decides, she’ll do nothing. She’ll go on indulgently long walks Levi in tow, she’ll talk his ear off about work. And like a good girlfriend, she’ll listen to his demos (and enjoy them) and tell him “are you sure anger rhymes with danger?”.

“I don’t really know how to worry about anything beyond our samples getting contaminated…” Hanji says, sheepish. Reiner sighs. He doesn’t want to be a wet blanket on Hanji’s life. He wants to be fun Reiner. Cool as a cucumber. Reiner who manages to make it through dinner at Hanji’s without having to excuse himself to hyperventilate in her bathroom because Levi is right there. And he’s so afraid that he might just be able to read his mind and find out he had looked up Levi Ackerman x y/n fanfiction once in his foolish youth (youth being approximately four months back)

Reiner shudders.

“Yeah okay… That’s um… That’s cool… Right?” He says.

Hanji shrugs.

—

So Levi Ackerman is your baby daddy. Now what?

You go into labour of course, with a matter of fact- “oh. Look Levi. The water broke.” All while refusing to leave the house until you demolish that amazing sandwich he made for you. You go into labour and you yell and grunt like a beast as you squeeze the life out of your baby daddy because he kinda deserves it. You both kinda deserve this pain. Take it as heavenly punishment for being horny and stupid if you will.

And in the middle of it Hanji thinks huh, this feels like a mix of a reality TV show from MTV and a badly written fanfiction. Except Hanji isn’t a teen mom and she’s too old for self-insert fiction that involves a lead singer of a popular band.

But Levi is here, and he doesn’t complain one bit even though he looks like he’s about to pass out. So as far as drunken one night stands go- this is pretty damn aspirational.

The baby enters the world with a huge cry.

“Kid’s got a huge set of lungs…” Levi says, but his own voice is quivering.

“Just like her dad…” Hanji smiles.

As he watches Hanji fall asleep with their baby on her chest, Levi thinks fuck it. Fuck keeping this under wraps. Fuck the fans and them enjoying how Eren gets on his nerves. Fuck Erwin and his “Levi. You’re giving me a headache. You are the cause of this headache.” Because the baby has Hanji’s nose and his eyes and he loves them more than anything in the world.

He snaps a picture of them and tags bigdaddyzoë-

“Welcome to the world, my love.”

—

Reiner can’t help the tears that well in his eyes after seeing the picture Hanji had sent him of the baby-

“He says hi to his favourite uncle!” Was the caption, and Reiner could only reply with a crying cat meme and an incoherent text that Hanji favourites.

He’s on the bus on the way to the hospital when his phone buzzes incessantly. It’s Porco.

“REINER WHAT THE FUCK.”

“LEVI ACKERMAN IS HANJI ZOË’S BABY DADDY?”

“HANJI ZOË MY PHD SUPERVISOR?”

“LEVI ACKERMAN OF NO NAME?”

“REINER WHAT THE FUCK?”

He sends a reply at the entrance of the hospital-

“Welcome to my world”

—

Reiner thinks things are alright. He’s one of the moderator of one of the bigger No Name servers, so he can block and remove people at his discretion. Some days he lets it get to his head. It makes him feel like a king. But today, he’s putting out fires.

Erwin decided their PR strategy was absolutely no strategy, because “they’re zooming in on the pixels Levi. Once they doubt the pixels, they won’t believe anything we’re saying”. With that. Babygate has officially taken on a life of its own. Eren still sends Levi babygate articles to annoy him, and to Hanji because she asked very nicely. Hanji thinks Erwin’s strategy makes sense, Levi thinks it’s just lazy. But Erwin framed a certificate that says “survived a PR crisis (sort of)” that Hanji had insisted be hung up on their wall, so that closes one chapter. Besides, Eren has been spotted going out on dates with a mystery girl. Which has the double effect of diverting attention away from Levi and exacerbating babygate because “see? Told you the company’s doing all they can to prove they’re not together!”

“Can’t you keep it in your pants?” Levi had thrown at Eren, to which he had responded cleverly with a-

“Could’ve said the same for you!”

Touché…

“See? That can’t be Levi! Look at how he’s smiling!”

“That can’t be a baby! Looks like an animatronic to me!”

“Do they even make animatronics that realistic?”

Reiner pins his “no slander” rule- one day they’ll get it. Or at least he would’ve gotten rid of all the people that don’t.

“Who’s this bigdaddyzoë anyway?”

“Maybe she isn’t real? Company probably invented her…”

“Heard she’s a crazy groupie who got knocked up…”

“Heard she’s hot…”

… several people are typing

—

“So… I heard from Reiner you were defending my honour in the server?” Hanji quirks an eyebrow.

Levi shrugs. Whatever goes down in the server stays between Leviackerman173810 (leviackerman and all 173809 permutations of said username had already been taken) and the hundreds of people who haven’t quite figured out he’s the real deal. Besides, Erwin has issued him three warnings so it’s best to lay low for now.

“My hero…” Hanji chuckles, pressing a kiss on Levi’s head. Below them, baby Udo wriggles and yawns against the fabric of Levi’s shirt. Cute.

So Levi Ackerman is your baby daddy. Now what? You look at your son and know he’s going to break hearts like his father of course. And if you’re Levi, you pray to god he never asks about babygate because Hanji has read up enough about it to be considered a connoisseur.

One day the internet will break when they find out the identity of bigdaddyzöe. But for now baby Udo has his parents wrapped around his tiny fingers and he doesn’t quite understand the concept of him being the spawn of every typical band member x y/n fanfiction. Or the centre of a very popular, very absurd, yet strangely believable internet conspiracy theory. Or the canon plot that has sunk one of the biggest No Name ships. And that’s okay.

#babygate was a 1D conspiracy theory #levihan #whoopwhoop! #levi x hange #levi x Hanji #Drabble #inbox #anon #mine #again Pieck is me #un beta-Ed I’m sure it’s full of mistakes #shingeki no kyojin #Levi Ackerman #hange Zoë #celebrity au

[lwt28brave]

LT2 masterpost

If it was up to me, we would get an autumn or winter EP. Since it’s not up to me at all, here, enjoy this post with everything we know so far of LT2, which is to say, not much at all. Everything here is hypothetical. I’ll be updating every time I see something relevant. A little disclaimer that while this is a masterpost (kinda), it could be read as discourse (duh, it’s also a theory), AND it’s also by me, and you shouldn’t expect me to be serious at this point.

Due to me restraining myself, there’s no reference to any of the times he’s mentioned his guitar skills and him improving but I hope you know I cried every single time.

I’m also linking my old pinned here. It was written before AFHF and around the free merch thing that didn’t lead to much, but I still think I made some good points.

Possible tracks:

Copy of a Copy of a Copy

Change

Faith in the future??

369??

Possible names:

369

Faith in the future

When is the album coming out?

Your guess is as good as mine

Friday 28th of January 2022. Almost two years after Walls. It’s a Friday. It’s a 28th. What else can I say?

Here you can find @want-to-be-loved timelines for every month.

Here you can find @berlinini’s timeline of what Louis has been up to this year (2021).

The rest is under the cut. And here you can find a PDF version where Tumblr can't tell me how many pictures I can add.

2020

He said back on May 2th 2020 he wasn’t writing anything new yet.

(x)(x)(x)

Interestingly enough, he’s said many times after that that the album’s not ready cause he has no new experiences to drawn from. I won’t call him out because he does it himself.

May 4th. He liked a tweet from DMA’s Johnny Took saying they had to go write together again. Louis has been credited as an influence for them and (kind of) participated in their previous record, so I’m assuming he meant for their music and not his, but you never know.

Nothing(literally nothing??? how did we survive) until 11th of July. We all know what happened that day. We all celebrated it. Nonetheless, that’s not what I’m talking about here.

(x) So, by the beginning of July 2020 he was working on concepts and ideas for the new album. That was fifteen months ago. I know perfection takes time but…

Brief summary of important things that happened from then until the next mention of new music:

Louis left Syco!!!! 10 days later he rescheduled the tour for the first time. He followed Matt Vines on Twitter, probably so we could publicly shame him into doing something. Also, the 10thanniversary. He followed more people I wish he hadn’t.

Then more nothing until September. Not even a single tweet. The first merch drop was on the 28th of August but he just RT’ed the tweet. He first mentioned Free my Meal on the 25th of September. Then on October 1st Walls hit #1 on a lot of countries and Louis was incredibly happy and excited about it ^^

And then, that same day, October 1st, 2020, he dropped this bomb:

(x)

He also said it was too soon to be sharing new lyrics with us (x)

And, obviously, this tweet which is actually what made me start this whole post. I would hope you know mate.

(x)

He also told us he was cooking "banger after banger" and that he was incorporating more social themes into his music (x)(x) (I believe any social issue is a political issue but that’s not the point rn).

COPY OF A COPY OF A COPY?!?!

These next paragraphs are brought to you by my mind not remembering things and me not having any links. I’m assuming COACOAC came from those writing sessions that supposedly happened in October. Or in LA but I have no idea if he actually was in LA at any point other than a Daily Mail article putting him there on December which would have been too late, but I do remember that someone said he was in the studio in LA last autumn???? A rumor. Maybe. IDK. Did I mention already all of this is very hypothetical?? Well, this is it. I can’t even remember if this was October or November or what. So, take this with a grain of salt.

I’m also… taking the liberty to assume, if you must, that Copy wasn’t meant to be a Walls reject because it sounds more mature and darker and it has a vastly different tone that Walls songs. I know he’s said that song probably isn’t getting into the album, but I want to have faith (in the future) that I’m getting a studio version. (But also, Louis, if you’re reading this, first of all GET OUT OF MY BLOG second of all, please don’t ever feel pressured again to add a song to the album because we have already heard it before. It’s your art and it should always be under your own terms).

So yeah, I believe that Copy is either one of those four songs (then imagine the other three??!!) or was written around the 1st of October date.

---End of the Intermission---

Then not much important (other than sharing more about Marcus Rashford fight against food poverty and the 2nd merch drop) until he announced the livestream on the 24th of November. (x)

It wasn’t until a few days before the livestream date we even thought again about new music (jk, I know we’re always thinking about new Louis’ music). So, December 9th/10th, 2020. Nine months ago. We got our first taste of new music!

He made sure we knew Copy of a Copy of a Copy isn't a cover! (x) (x)

(x)

Ok, so that’s it for 2020. (I feel like I’m missing something from September 17th because tweet was deleted but maybe he was still talking about cucumbers. We might never know. Unless I understand how Tumblr tags work). Expected, cause Walls was released in 2020. We needed to let it sit for a while.

2021

Another Summary: Louis third tweet of the year was telling the UK government off. So was the fifth. What a good beginning. On the 26th of January, he said he prefers pancakes over waffles. I hope he meant pancakes other than his own. More importantly, he tweeted the infamous “you lot read into things too much”. Don’t get me started, Tomlinson. Don’t. Then the 31st came around and Walls was one. He tweeted this. How wise. And Project Defenceless happened!!

15th of February!! Who cares about Valentine Day when the next day we got this? ♥

(x)

(x)

So…AN EP?? AN EP?? PLEASE RELEASE AN EP.

“I’m sure I will have something out this year but unlikely that will be the album”. Unlikely but not impossible. Also. A single would be good. This is the second time he mentions releasing something in 2021 and he sounds surer about it than the first time around.

He also said that he isn’t sure we will get a studio version of Copy. And that the best bridges from Walls to LT2 are Walls, OTB, KMM and Copy. Can’t wait!

Then we jump to March 6th when he announced he was going to create his own management company. “Sometimes action is needed first to encourage the motivation and belief”. As we can tell he was already manifesting some stuff which will lead us to the numerology stuff/Tesla… kidding. Or not. We might never know.

On the 22nd of March he answered some questions:

He told us music was still his main focus ♥ mwha. (x) I included this tweet to guilt-trip him into giving us music in case he’s reading this even after I told him to leave. ILY.

(x) I’d love to get a visual EP this autumn. Just saying. It sounds like a lovely concept.

(x)

…next (I will get into it, I promise. I’m just mad).

On the 25th he left for Mexico until April 10th. You could assume it was just for the documentary where we got ten seconds of footage or admit the obvious: LT2 its a Mexican baby!!

On the 26th (so, not so far apart from that first 369) we got the first Faith in the Future mention: (x)

Back then we were innocent people who had no idea what was coming upon us. We still have no idea because what the fuck does he mean with these. Please explain. I have one braincell and I don’t use it enough for this. I’m linking some theories.

On the 30th of March he confirmed he was already working on the documentary. So AFHF was already on the works. Will it take this long for us to get the Veeps numbers? We also got this tweet: "Got a decent chorus idea down" (x).

Same person that got the “something out this year” exclusive. If you know something share with the class. Also. Is this Change? I feel like this could be Change but I also assume he wrote Change after hanging out with his friends or being in Doncaster. But who knows.

(x) And the second mention to 369.

(x) 15th of April. The second "Faith in the future".

On the 19th of April he announced that he had something BIG for us later on the year which turned out to be the Away From Home Festival ♥♥ (x) I love him so much.

Then on the 28th he announced the 369 merch drop (which it’s probably the Walls drop? Except that the TOU and KMM ones were “drop 1 and drop 2” and this was drop 369 which, again, makes no sense) but we still don’t know what 369 means.

Into May’ 21 we go.

He rescheduled tour again. And dropped another bomb (x).

He announced he has signed with BMG as an independent artist by RTing this tweet on May 10th. The article also says that he’s already working on writing and recording LT2. The timing… we don’t know. What this deal involves… we don’t know either. Bear with me here because I have a lot to say about this.

I think the deal is only a distribution one, but that BMG are interested in Louis and what he (us) could bring to the table. They were either present at the festival or watching it, but officially they had no involvement at all with it (everything is credited either to Louis own company, 78 Productions, or Charlie Lightening’s company). That’s the case for both giveaways too; the vinyl one and the tickets for the festival.

I think it would be an unbelievably bad move not to test the waters with BMG now or soon-ish. At least a single, to see how it performs. Due to the circumstances, it’s obvious there’re certain limitations on place but I want to see how they push it, whether the radio play exist this time around and if the song is playlisted and promoted and all that… I would also love to know, since it says he signed with BMG UK, but it also states it’s a global deal, how things are going to go on the US and other countries.

Yes, yes. I know those are all questions and no answers. But I know the same as you, sadly. If any of you know more than you’re letting on… again, share with the class.

Where was I? Yes, on the 25th of May Louis had a great day writing (x). Since the first time he had mentioned he was officially writing to this date there’s almost eight months. And I believe he was writing before October’ 20.

He followed Robert Harvey that day and, on the 28th of May (why is it always the 28th???) he was spotted at the studio for the first time.

June was an interesting month for the fandom ♥. Lots of LHL content which I will love and cherish for the rest of times. On June 4th, June 9th, and June 10th he was spotted at the studio, but I believe he was there more days.

(x)

This was posted on June 6th and captioned Studio. Charlie also shared it with “Mega tunes being put down, can’t wait for this @louist91 #louistomlinson #LT2” as the caption. This gives me 2019 (Elton-Joint) vibes. I like it. Feels like we’re getting closer to something.

He added the Milano date on the 9th too which I’m mentioning because I’m going alone. Anyone wanna go with me please? I’m nice and I never eat anything before a concert so you can have my food. On other news. It didn’t come home.

During July he was at the studio at least three days too. Probably more. Feels like more with all the fan pictures we got. Or was that June? Anyway, July 1st and 9th we got some videos from Robert Harvey and wearesuperhi, which is who Louis has been working with the most, that we know of. I don’t know for sure they’re from that day. And on July 5th we got an article and lots of pictures of Louis looking really good outside the studio.

On the 12th of July the first fans started getting the free, 369 bucket hat and print. We still don’t know what the purpose was other than to thanks fans. Maybe that was it. I want answers and I still think it relates to a future project (see theories above), but it could also just be a bridge with the Walls breaking.

He didn’t tweet about anything interesting for a while, mostly because he lost his phone (he either throwed it in the air or smashed it who knows). Then on the 29th of July he announced the festival!

I’m glossing over it because there’s already been a lot of talk about it (rightfully) and while it was a wonderful thing, it doesn’t have much to do with LT2.

Let’s talk Change!

On August 3rd he tweeted this about the setlist.

(x)

And this (x) on the 28th! I can’t stand him.

We didn’t get it, obviously. Because who was going to get that. But we read too much into things. Alright.

On the 16thof August Dave Gibson shared this post tagged #LT2 with the eyes emojis 👀👀👀. I believe this has to do both with Change but also with whatever else came out of that Mexico trip.

(x) Last relevant tweet related to LT2 is this one.

So, on the 30th of August we got Change and we cried, and we know that Change is going in the new album. He said it. With those exact words. He also said he was “getting a feeling for it”. This has to meant he already has a general idea of the vibe of the new album and what’s going in it!!!!!! (Right? RIGHT?).

Anyway, let’s go back a few weeks because some other things happened on August. He was at the studio a few more times. Or it was suggested that he was there. On the 17th and the 18th. (Why was it so time-pressing to be at the studio instead of rehearsing for the festival? There was no studio at all on the documentary. Which makes sense, but again, then why?).

On the day of the festival we got another mention of Faith in The Future that made me feel part of a cult ngl. The words were flashing on the screen for less than a second. Okay.

And then he tweeted those words again after watching the livestream/documentary on the 4th of September (x). This is what makes me suspect it's either the name of the album or of the single.

On the same day, we got some interesting quotes about LT2 on the documentary.

“Soon I’ll have to think about me second album, which in my head I’ll get the tour out of the way and then I’ll address that. So, I hadn’t really given it much thought, to be honest”.

“When every day is the same is hard to feel creative and it’s hard to have any kind of proper inspiration”.

“As season started to come back, I started writing again and it was great and some of these songs turned out alright”.

And I think this is it. I might be overlooking some important details but that’s what we know and what we don’t know.

So. Conclusions. That’s what you missed on Glee. I do believe the album is, if not mostly done, partially there. And yes, this post is pointless and never-ending but it’s all in here if you need to tell Louis “Hey, you said this, mate”.

#LT2 #Louis Tomlinson #Faith in The future #369 #Louis #LT #new music #idk what this is #but it's long #pinned

[pochiperpe90]

Here comes “The Old Guard”. Marinelli goes to Hollywood, alongside Charlize Theron.

“Alone, fragile and immortal.”

A story of love, friendship and compassion with an ancient warrior and a young African American, who has just discovered she is immortal, as protagonists. Because the world needs women and courage knows no gender differences. 20 years after “Love & Basketball” and after “The Secret Life of Bees” and “Beyond the Lights - Find Your Voice”, Gina Prince-Bythewood comes to the action movie with very clear ideas on how to reinvent the rules. We talked to her over the phone while she was in Los Angeles during the lockdown. 

A superhero movie that doesn't look like a superhero movie. Is that why you decided to make it? 

Absolutely yes, when I read the script I realized that despite the fantastic genre there was a very realistic background. These characters are real and it's easy for the audience to relate to them despite being immortal. They fight for goals and reasons that people understand. The more realistic the film, the more viewers can reflect themselves in the protagonists. 

In fact, the most fascinating aspect of the characters is their vulnerability: they are immortal, but up to a certain point, which is a paradox. They too have to deal with the sense of the end. 

There is a possibility that they may die, that their immortality is interrupted, that they still suffer from their wounds, and this brings them closer to us. The public still feels sorry for them when they see them in danger.

Immortals suffer, and not just physically.

Many think that being able to live forever would be extraordinary, but no one asks what this really means. Immortality has consequences: it can be a gift, but it can also be a curse.

And we don’t know why immortality fell to them. 

The thing I loved about the graphic novel and the script is the fact that there is no explanation. Not only do we not know it, but neither do the protagonists. But it is a trilogy and therefore there is still a lot to tell.

Could you offer your contribution to the script? 

It was a great script, with great roles based on the graphic novel so I stayed very true to the text. With the author, Greg Rucka, we wanted to reflect on the fear of taking someone's life, the one that sometimes overwhelms soldiers in war, whose psychology is often neglected. Hollywood films have never been very concerned with this aspect, as if killing had no consequences. The protagonists are forced to kill, but if someone has been doing it for centuries, for others it’s the first time. 

What struck you about Luca Marinelli? 

I could talk about him for days, I love him, he's the actor that all directors dream of having on set. He loved the character and gave him life in a very credible way. Between him and Marwan Kenzari is born a great complicity, necessary between two people who have been together for centuries. Luca's eyes are full of soul, his Nicky is the heart of the group, he’s the most sensitive character of all of them. 

Charlize Theron, who is also one of the producers, has an increasingly and more torn body.

Charlize has already played roles like this one, she is very credible in the genre of action and has been helpful to who had never faced it before. From her, who really worked hard, others learned to do the same. She is very credible in the role of a woman who lived for thousands of years.

Matthias Schoenaerts, on the other hand, has an insidious role. 

He embodies the tragedy of immortality, loneliness, betrayal. He is the actor who most resembles his character in the graphic novel. He wanted to make the film at all costs because he had never measured himself with the action genre and felt he had things to express. 

The film underlines how today it’s no longer possible to hide, images can capture you at any time. 

In a scene near the end, when the immortals look at photos and articles about them, they truly become aware for the first time of everything they have done to protect humanity. They understand the power of images from which they continually try to escape in order to hide their identity. 

And then we talk about science and profit. 

In the film, people from different places join forces to protect the world, a need even more relevant today. Yet it is increasingly evident that profit matters more than human lives. 

Do you think the film industry is becoming more inclusive with women? 

Things are finally changing and I am grateful that, despite having no other action films on my resume, I have been entrusted with The Old Guard. I am grateful for the trust they have placed in me. It should be taken for granted by now that women are capable of coping with any film genre and I think how much pressure from the industry Patty Jenkins, who directed Wonder Woman to success and opening the door for many of us, went through. But the door must be wide open because there are still few who have such opportunities. 

In your opinion, have opportunities grown with the arrival of platforms like Netflix? 

Netflix wasn't afraid to trust a series of directors. Which studio would have produced Roma or Irishman? He has the courage to make films that Hollywood deems too risky.

The Golden boy

“Luca Marinelli, as we have never seen him before: in his Hollywood debut, he becomes an immortal and fights with Charlize Theron to save the world.”

Just before the lockdown he was one of the jury members of the 70th Berlinale in the city where he has lived for years - and he swears he had so much fun watching three films a day. The audience awaits him in theatre in the role of Diabolik, in the film directed by Manetti Bros., but on July 10th he arrives on Netflix with The Old Guard, the action movie that sees him alongside Charlize Theron. And where he plays the Italian Nicolo, Nicky for the group of immortals he belongs to. Directed by Gina Prince-Bythewood and based on the graphic novel by Greg Rucka and Leandro Fernández, the film offers Luca Marinelli an insidious superpower, an endless love and a new opportunity to demonstrate his talent as a true champion. We reached him on the phone and he, less shy than usual, told us how he became a secular "superhero".

How did you get to the project? 

I auditioned in London, where I later returned and met the director. Lastly, there was a final meeting between me and Marwan Kenzari. We made a scene together and then they announced to me, "We'd love for you to be Nicky." 

What struck you about this character? 

The story fascinated me because it tells of immortals as if they were the damned. Nicky and Joe live this condition as a gift because they are linked by a wonderful love story and they are not alone. They met in an absurd and paradoxical situation, during the Crusades, ready to kill themselves. They did it a hundred times and then they looked at each other and fell in love. But others suffer from it, like Andy and Booker. In a beautiful scene, Booker, played by Matthias Schoenaerts, explains what happens to them: they see the people they love die and blame them because they cannot prevent it. And they are tired of watching the world repeat itself following the same dynamics. They fight to save people, but everything seems to go on the same way. Only in the end will they discover what they have done and what they are doing. 

How did it go with Charlize Theron? 

Well, it was wonderful! As I read the script I said to myself: am I really going to make a film with Charlize Theron? And hug as well! I was very excited and intimidated already while reading. She is an extraordinary actress. In the scene where we are at the table and everyone tells Nile something about us, Andy tells her what we are and it was nice to see her running and venturing into the midst of emotions and thoughts. Sometimes I got distracted and didn't say my line. But Charlyze is also a crazy athlete. You have to be really athletes, otherwise you don't survive at the end of the day. And Charlize is an athlete of the body and the heart. 

What about her athletic training? 

We got together a month before shooting to start working with the stunts. I had to get some athleticism back: when I arrived and they looked at me I think they were a little worried. We had to become familiar with martial arts and then we switched from the sword to other weapons and to hand-to-hand combat. We prepared scene by scene, including the choreographies, different for each fight, and each of us had his own rubber reproduction of the sword. It was an unforgettable training.

The immortals come from different places in the world. How much of Italy is there in Nicky? 

Apart from the pronunciation? They still laugh at some of the things I said. Marwan and Matthias, but also Charlize, speak Italian at different levels and every now and then I enjoyed shooting a few sentences to which they could answer me. 

Did you offer your character something that wasn't in the script? 

Well, being in such a group, shy as I am ... I tried. I have always focused on the bond between Nicky, Joe and the other members of the group, because I am interested in discovering what is inside a character, his feelings, how he looks at the world, what excites him. Nicky has lived for centuries, but still greets the people he meets in the desert with a smile, inside him there is the flame of an infinite good. Each character has a different sensitivity and their own armor. Nicky is perhaps the least armored one.

The challenge was also to make people believe in a love story that has lasted for centuries. 

Marwan recites a beautiful monologue in which he talks about their love story. I hope that each of us, in their short life, can say the same thing about the person they love. 

You’ve already had superpowers in “They Call Me Jeeg”. What is your relationship with this genre? 

I like it very much and I think that both films, very different from each other, have a very interesting soul. In Jeeg Robot, Enzo Ceccotti uses his superpowers to help others, taking on a social responsibility. In The Old Guard the protagonists put themselves at the service of others, even if no one has asked them to. “This is what we do,” they repeat over and over to each other. What they do is save people, participate in what they think is right. 

How do you think they would react to protests on American streets and around the world?

I don't feel like playing games, mixing reality and fiction on a terribly real subject like this. I think that in reality, outside of any cinematic fiction, it’s fundamental to fight for equality, within society, but also within ourselves. To go back to our film, if in a microscopic way we manage to carry a message in that direction, I would be very happy. 

What director was Gina Prince-Bythewood? 

She is always ready to listen, and I am someone who asks a lot of questions even at inappropriate times. She always had great patience and was very attentive to the emotional side of the film, to the interiority and beauty of the characters.

CIAK Magazine - Luglio 2020

Just wanted to translate this old interview for the non-italian’s fans ^^ (sorry for my English)

#Luca Marinelli #marwan kenzari #Charlize Theron #gina prince bythewood #Matthias Schoenaerts #the old guard #TOG #TOG Cast #Film #netflix #magazine #movie #interview #english #english translation #mine #joenicky #joe x nicky #Immortal husbands

[ladyonfire28]

Came back from my little break for that new article ! Here is the translation of Adèle and Aïssa’s interview for Libération. It’s a very long, but very interesting one. So i recommend to read it. There may be a lot of incoherencies so please tell me if something doesn’t make sense ! 

Aïssa Maïga and Adèle Haenel : «Finally there’s something political happening»

They stood up together at the César and have since been striving to invent a common front against all forms of discrimination. For "Libération", actresses Adèle Haenel and Aïssa Maïga retrace the journey of generational awareness.

Some kind of symbol. A large mural, in tribute to George Floyd, a 46-year-old black American who died on 25 May when he was arrested by a white policeman, and to Adama Traoré, who died at the age of 24 on the floor of the "caserne de Persan" (Val-d'Oise) following an arrest in 2016, was painted at the beginning of the week on the façade of a building in the 10th arrondissement of Paris. Close by, the Adama Committee organized a press conference on Tuesday. Words, demands and the announcement of a new march to fight against police violence. It takes place this Saturday in the capital, from the Place de la République to the Place de l'Opéra. The organizers dream of seeing a huge crowd come together. This demonstration comes at the heart of a tense period. Young people are demanding answers and action, while many police officers feel that the Minister of the Interior is letting his troops down in the face of the scolding.

In the street, we will find associations, politicians and many people. Adèle Haenel and Aïssa Maïga will be there. Not a first. They were already present on  June 2nd at the rally in front of the Paris high court. The actresses didn't really know each other before the last César ceremony, marked by the speech of one and the shattering departure of the other. Since then, they have never left each other. Both describe the moment as a "turning point". The fights converge.

When the idea of a cross-exchange came on the table to put words to their commitments, they did not hesitate. On Thursday, in a roadstead near Belleville, Adèle Haenel arrived first, followed by Aïssa Maïga. They are not of the same generation, the journeys and paths are different. The styles too. The one who got up at the announcement of the prize awarded to Polanski goes up and down, talks with her body. The one who, at the same ceremony, invited to count the black people in the room appears calmer, stays seated on her chair, speaks in a low voice. Adèle Haenel and Aïssa Maïga complement each other.

From where are you speaking?

Adèle Haenel: I speak from my personal political background, rooted in feminism, a background that is shaken by the worldwide movement around police violence and by the French movement around the Adama Committee. I would say that taking charge of my own history has given me the ability to deal with other broader issues that do not immediately affect me. I'm talking about a kind of political awakening. This desire to show my support for the families of the victims, for the political movement against racism and police violence in France, and for the actors who take a stand. I'm thinking of Omar Sy, Camélia Jordana and you, Aïssa.

Aïssa Maïga: This intersectional awakening evoked by Adèle is a place where I have been for a long time without necessarily being able to name it. For a long time, the racial question in cinema was so pervasive in my life that it cannibalized everything else. I felt that it was less difficult to be a woman, in a world that discriminates women, than it was to be a black woman. The work done by Afrofeminists in France and abroad put the words in my mouth that I didn't have because I didn't have that heritage. I am speaking from a place that is on the move and that is not made up of certainties, that is made of interrogations, especially about the fact that I can implement changes on my own scale. And I'm also speaking from a place that is purely civic and is tinged with various influences. I didn't grow up in a poor suburb, I didn't live in financial precariousness, I come from a rather intellectual middle class, it gave me certain tools, and yet I haven't escaped this very French thing, a soft racism, rarely seen but which is haunting... because it's omnipresent.

Why did you get involved with the Adama Committee?

A.M.: Because this is a fight for justice. It was Assa Traoré who came to meet me during the release of the collective book Noire n'est pas mon métier ("Black is not my job"). I knew her from afar, I knew her struggle, and she appeared. The support became obvious and it has really taken shape in the last few months. I was immediately impressed by this woman, her quiet strength, and this ability to forge a bond, to think of her family drama in political terms. Her voice matters. She's not just an icon: she allows a movement to emerge.

A.H.: For me, it's even more recent, I had to go through a problem that was going through me, that involved my body in discrimination in order to mingle with other injustices. I was listening to what Assa Traoré was saying and I was struck by her determination and intelligence. But it is only very recently that I also became physically aware that I could not fail to support this woman and the whole fight against police violence and racism, in the same way that I am taking up the fight for feminism and against sexual violence. I can't have it two-tiered.

On June 2nd, more than 20,000 people gathered in front of the High Court of Paris, at the request of the Adama Committee. An unprecedented turnout, with many young people, why?

A.M.: The Adama Committee saw very well the link between George Floyd's drama and their own. The death of Adama Traoré, choked under three gendarmes, was materialized before our eyes with the unbearable images of Floyd's death. The French youth who look at these images cannot fail to make the connection, it is obvious. There is also a form of accessible activism that is developing via social networks. Activists will involve others through simple, accessible sentences: if you are not a POC, you are still involved, it is your responsibility to listen and take an active part, at your level, in the fight for equality. There is also the idea that we need to establish a link between police violence, the racism that can be found in other social spaces, the issue of gender equality, the environment, and the urgency of dealing with these problems now. There is also a form of anxiety among young people: they are told that in fifty years' time there will be no more water. And finally the feeling of injustice, which is omnipresent and linked to the circulation of images on social networks. Police violence follows one after the other, and this creates an accumulation effect. It is not just a dogmatic political vision, but a reality that is lived or perceived as real.

A.H.: There is a turning point in the effectiveness of the movement as well. This feeling carried by Assa Traoré that we are powerful. It's not just ideas that go around the world, it's ideas that make the world happen. It gives hope and responsibility to a whole generation.

During Aïssa's speech at the Césars, in which she confronts the profession with the near-invisibility of actors, filmmakers and producers from French overseas territories and African and Asian immigrants in French cinema, you are in the room, Adèle. You don't know each other yet. Do you understand her speech immediately?

A.H.: It's obvious, but it's not immediate, it takes a little time to understand the extent of the racist mechanism when you, yourself, haven't been forced to see how it works. I was brought back to particular assignments, but not to this one. So it takes a long time before it becomes unbearable evidence. When Aïssa takes the floor, it's courageous because the room is very cold and it's making it even colder. I thought it was funny and I thought "finally, something political is happening".

Did you both understand that people find it violent to count black people in the room, and even that they might find it paradoxical to split the audience?

A.M.: Counting isn't splitting, it's measuring the gap between us and equality. When it comes to inequality, to be blind to color is to be blind to the social burdens that come from our history and the imagination that flows from it. I am fighting for art and culture to deconstruct racial fictions. In our field, cinema, there is a tendency to believe that when a few exceptions appear, the problem of racial discrimination is solved. I do not think that my presence, that of Omar Sy, Ladj Ly or Frédéric Chau, Leïla Bekhti, for example, however gifted they may be, exonerates French cinema from an examination of conscience. There is always an over-representation of people perceived as non-white in roles with negative connotations - and it's not me saying this, it's the CSA, through its diversity barometer. There are still too few opportunities for younger people, who today in 2020 deplore what I deplored when I was starting out. Still too few non-whites behind the camera and almost no one in decision-making positions. I started this job when I was 20 years old. I am 45. A generation, not a few exceptions, should have risen. It hasn't. And it's unbearable as a citizen, a mother and an artist.

At the César ceremony, I deliberately used a inflammable symbol. If we refuse to measure differences in access to opportunities in terms of racial discrimination, perhaps we are accepting the status quo. Today, we need concrete action by decision-makers and numerical targets in order to measure progress. A few personal successes, however brilliant they may be, cannot justify the violence of large-scale unequal treatment.

A.H.: The substance of what Aïssa said to the César is relevant, it speaks to the moment, and being shocking has the virtue of awakening. The criticisms that followed were "I agree but"... In fact, it means that even when the substance is right, the form is never the right one. It's a form of censorship, there are people who have the right to speak and others who don't.

A.M.: Allowing oneself to express anger head-on is taboo because we are actresses and we are supposed to preserve the desire that others project on us. And also because it highlights the precarious nature of this profession: are you able to overcome your fear, to express your opinion, with the risk of losing something?

A.H.: From my point of view, that of a white woman - forgive me for putting myself in this position, but it's still unfortunately an assignment - I see that when I spoke about what happened to me personally, I received a lot of support, especially from people who are not especially on our side. However, as soon as I spoke up, politically, to say that giving the prize to a rapist fleeing from justice was an insult, all of a sudden I was really overstepping what I was entitled to do, what I could interfere in...

Do you think there's a "white privilege"?

A.M.: Words are so tricky...

A.H.: When Virginie Despentes uses the term "white privilege", it's a bit related to Aïssa's gesture when she counts the black people in the room. It's a question of pointing out, by calling up words that should be those of the past, the gap between the evolution of universalist ideals and the facts of manifest exclusion at work. Provocation points out this flaw and invites us to close it.

Is there state racism?

A.M.: I don't know about "state" racism, it would have to be written into the laws to say that. The right word is systemic: it means that there is something that does not allow for real equality, something in the established rules that allows a small number of people to discriminate without being worried. What also raises the question is the inertia of the state in the face of the continuation of systemic inequalities.

From what you say, we are at a turning point in the struggle against racial, gender, social and other forms of discrimination...

A.M.: I felt the turning point in 2018 with #MeToo, Time's Up, and when I saw all these women from such diverse backgrounds (in the streets) after Trump's election. It was an image I had never seen before in my generation. It was in the United States, and yet something happened to me in France, because I had been dreaming of this convergence for a long time. I'm not here to defend my chapel. I'm not going to be satisfied with a breakthrough if blacks have more roles while Arabs and Asians are still in a degraded situation in French cinema. The convergence I'm talking about didn't quite take place at the time of #MeToo, which quickly became a white women's movement in my eyes. In French cinema, there is also the "50-50 for 2020" movement [collective for parity and inclusion founded in 2018, editor's note] that I saw coming like the guerrilla movement we had been waiting for for a long time, pragmatic, quick, positively impatient, very constructive. The work done in favor of parity is colossal. On the other hand, I regret that diversity is the next program. But it cannot be the next program for me, that is the mistake. I've talked about it very openly, and frankly in a fairly relaxed way with some of them.

A.H.: Much more relaxed than I was, by the way!

A.M.: And then I said to myself that the battles are progressing on different levels and that we're going to have to find some kind of alignment. The fight for women's rights is not just a women's issue, it's a men's issue, just as the fight against racism is not just about POC. And it wasn't until 2020 and the murder of George Floyd that there were those voices, especially white voices, that said, "This is my problem too." Including in France, where this awakening of consciousness is made possible by the work done by the families of victims of police violence.

A.H.: In my political journey so far, I had forgotten to understand the places where I am not just in a situation of domination. I am also, as a white woman who is not in a precarious position, in a dominant position in certain aspects. Understanding that, feeling that, is essential. My political agenda was focused on feminism, and I didn't realize that it was implicitly white feminism, unintentionally excluding. What Aïssa says seems fundamental to me: the agenda that would order one cause after another is not conceivable and leads to inertia. It leagues us against each other in identity issues that are sterile, since they reiterate the terms of oppression. This is a major issue in the effectiveness of political struggles: how can we mobilize without reiterating the categorization we are fighting against? This implies understanding that there is a deep articulation between all systems of domination and that there is a need to defend these causes in a cross-cutting manner.

Aïssa's speech on June 2nd, during the demonstration initiated by the Adama Committee, called for a fair, dignified and positive representation of minorities in the media. But who can judge what is dignified and fair? Only the ones who are affected ?

A.H.: Today, in France, female characters in films are implicitly white women: I have a much wider range of possible jobs than that offered to a black actress. But in my field of so-called universal women, very often, women are offered satellite roles around male characters. These roles take up what is considered to be the normal white female nature, of restraint and reification. What appears natural here is a cultural construction of identity that is done precisely through stories. This is one of the reasons why the political stakes of representations in the cinema are so important.

Is this a criterion for assessing or rejecting a work? What should be done with existing works that have been reassessed as problematic?

A.H.: Works must be recontextualized. They are not created out of nowhere, out of time. Let's question them! That doesn't mean that we stop watching them, but that we ask ourselves what their political substratum is and what they convey. Questioning representations is a sign of vitality. And that does not mean that we would no longer have the right to see these works.

A.M.: With this waltz of statues of slavery figures in the United States or in the French overseas departments at the moment, the citizens gives their answer. Either the work must be contextualized, in a museum or in a place with a historical explanatory note, or it must stand out.

Is it women, more willingly than men, who carry this convergence of fights ?

A.M.: I feel a change in the scale of our lives, a major turning point in the way we perceive each other and allow ourselves to hybridize in these battles. Regarding the massive presence of women from cinema in front of the High Court on June 2, I wonder. In particular about my own capacity to build bridges... while guaranteeing the visibility of the fights against discrimination against women or POC. How do we ensure that the fight against discrimination, for equality and equity, is as visible as the rest? I am not at all sure how to do this. But it has to be done. When, the day after the César, I received a text message from Adèle, even though we don't know each other, and she writes to me to say "I heard you. I'm here. Let's meet", it can be as simple as that.

Why did you send that text?

A.H.: Because of the solitude in this room. And the brave gesture of saying what she said on stage. We'd met the same evening and maybe I hadn't caught the moment, I was captivated by our own event... That is, what had happened after we'd, let's say..., gone to get our coats a bit earlier in the dressing room... (Aïssa Maïga laughs) And I thought, let's not forget the constructed gesture, the political intentionality of Aïssa in there. I wanted to get closer to her courage. So I think that we shouldn't talk about masculinity by saying "men", that we should consider masculinity as a field of organization of power with its own complexities, and its intersectional repercussions. I refer to Angela Davis' book, Women, Race & Class, on the issue of the difficult articulation between the civil rights movement in the United States and the emerging white feminist movements where there was a lot of racism. Why don't we think of ourselves as spontaneous and necessary allies between categories of discrimination, racial, social and gendered? We need to take the history of this division seriously in order to work on it and overcome it. As Assa Traoré does in an ultra-intelligent way when she says "Whatever your religion, your sexual orientation, wherever you come from, whatever your skin color". It is an invitation to self-criticism of our own movement. This is my discovery at the beginning of this year: the self-criticism of my history as a white feminist.

When you get up during the César, is it thoughtful or impulsive?

A.H.: This award was a claim to the right to do whatever you want as long as you are at the top. That is to say: rich white men who don't feel concerned when we talk about violence. What it means beyond sexual violence is that there are people to whom repressive laws do not apply. It's as if the police and the laws shouldn't act against them, but around them... And that's what you feel in that moment in the room. What happened on César night was a dissolution of the status quo. Now it's either you stay in the room or you don't stay in the room.

A.M.: And it was important to be there at the César, because I read a lot about boycotting that evening, but for me there was no question of backing out. A boycott is not just staying at home behind your television, not being there without anyone really noticing. It was important to say that the home of cinema is also our home, our space, our place of expression. We are in a position to speak out and for that to have the virtue of provoking discussion. When that person wins that award, it's the time of the turkey, where someone praises the rapist grandfather, when everyone knows. And you're breathless, you can't move, time becomes elastic, everything is extremely heavy, it's unreal. You enter another dimension. And the fact that a person manages to regain possession of time, to become master of their time and master of their body by standing up and saying no, it put oxygen back in, it woke us up. Adèle and I looked at each other two or three times during the evening, we knew we were together. There was something like a physical experience. We boarded the ship together.

We're spotting the allies.

A.M.: That's right. And time returned to normal when Adèle, Céline Sciamma and others, including me, got up. It was a coherent political gesture in which many people recognized themselves.

Do you think that your political positions, formalized at the César, can have an impact on your career?

A.M.: The question is how do you break a family secret? Festen is one of my favorite films. (Laughs) I wasn't born at the time of the 2020 César, it's the result of a personal journey and a legacy. Others before me have spoken, for example Luc Saint-Eloy and Calixthe Beyala on the same issues at the Césars in 2000. When Canal + and the César invited me to come and give an award, I said "yes, but I want complete freedom". Blowing up a family secret is a movement for self-liberation, it's an essential meeting with yourself. Choosing to be on the side of silence, of the status quo and therefore of injustices with full knowledge of the facts is something I was quite incapable of doing. The consequences for one's profession are not that one doesn't care, but spitting out what one has to say is a top priority. The question of what it is going to cost behind it is resolved by the feeling of freeing the word, provoking debate, making a generational contribution to the fight for equality, which in essence concerns us all. I have an appointment with myself around 60, 65, the age when my children will be about the same age as I am today. There is something about transmission. I want to be able to look at myself in the mirror. I don't want to tell myself that I haven't taken advantage of my little privilege of being a POC exception in French cinema to the detriment of all those young people I meet on the street, who aren't white and who say to me with fear in their stomachs, "Do you think I can still do this job?"

What about you, Adèle?

A.H.: The message that was sent to me very clearly by a casting director is that I will never work again. Obviously, this person was very sure of himself, since he wrote it in print capital letters about a dozen times. What do you say when you ask for respect and silence? They say, "Don't speak out politically because it's not your role". But also: "Don't take the lead artistically either because you're an actress, you have to follow the genius of your director". This whole structure is part of this culture where you shouldn't listen to yourself but to submit. I don't know what the consequences will be for my job. What is certain is that I will never regret it. We did something that night that freed the voices of a lot of people. That is worth much more than all the threats to my career, which in any case is always fragile, because it is a precarious environment. If I totally respected the rules and said, "Yes, yes, you have to separate the man from the artist", that wouldn't stop me from being able to get out of the game. It's as much about inventing one's life as trying to open up the future.

Written by Cécile Daumas , Rachid Laïreche and Sandra Onana. Photo by Lucile Boiron

#adèle haenel #aïssa maïga #adele haenel #aissa maiga #portrait of a lady on fire #that was a very great read #can i just say i gasped when aïssa mentioned Festen #it's an incredible movie !!! #portrait de la jeune fille en feu #libération #sometimes i translate things #long text #black lives matter #blm

[incarnateirony]

So Jared's social media is slipping. Lol jackles says that doesn't matter because the industry only relies on q scores. Those seem to be a private survey so you dont see the result. He does have some data for 5 years ago which he says shows jared is higher. Would that still be the case and can you explain how much wait is given to social media now?

lmao "the industry only uses Q Scores" is something that lot has been yodeling for years because back in 2016 Jared made the list once. It *was* an industry standard for about 50 years. Just like box TVs were an industry standard for decades. Things change.

Hell every study (twice a year, which is extremely delayed in this fast paced modern environment) things change in Q Scores the same as they do with, say, imdb star meter. Which has about the same level of depth and costs a company like 14 bucks a month, not hundreds of dollars to be told who's grandma recognizes who. But then you can pay for a CUSTOM Q score! And CUSTOM testing!

Around 2016 they started trying to modernize to include digital celebrities, but it actually revealed problems in the testing method since it's basically door to door census bullshit that misses a lot of demographics.

Marketing Evaluations/TVQ, Inc runs it. They want really, really badly to market that they are, in fact, important. But you'll find very few modern articles about it being discussed by anyone relevant because other systems have stepped up. So for example, marketers look to Hollywood-Madison Avenue group, which not only tracks their fame, but everything from interests, to major blunders.

TVQ is literally 12 people in a trenchcoat pulling an extra 770K a year by convincing people to buy their garbage. Given, this is small change for marketing, and has been in major decline in recent years, with their website still rotting with major 2005 aesthetic for a reason.

People have become increasingly aware of it being really flawed to just knock on the doors of 1000 people, ask if they recognize or like a name, and move on. This is WHY there's been no major buzz since they TRIED to make themselves seem relevant still in 2016. Many companies have started realizing that rather than paying hundreds, or thousands of dollars for information that gives a vague idea, they can assign their own in house marketing brains that they already pay hourly anyway to take a few hours, pull numbers from socials, google, imdb and more. If they want deeper information, more have started leaning to Hollywood-Madison Avenue Group, which will not just give you popularity ratings but like I said--interests and blunders. Need a warning sign someone's into Scientology? Or has frequent hissyfits and meltdowns? H-MAG gives you that.

I cannot emphasize enough-- lol-jackles has clarified before, they are, and I quote, a failed "pre-successful actor." This means they literally tried to get into media, tried to become an actor, and couldn't cut it. They frequently use the "I was in the industry!!" as a song and verse acting like it makes them special, but like. You might as well pretend any person that grabs extra gigs posted at $50/gig to be in a background frame in a few movies is now an insider that understands all of the inner workings of shit.

Like *shit*, I almost had my own *show* at one point I had to cancel development on and even *I* recognize I don't know *everything.* I've worked in every branch of media at some capacity or level, and, hell, I'm literally signed into a contract right now with a small production, though the meat of my work won't really begin for a few years with them. Lol-jackles' experience is... failing to act guud or be noticed.

Lots of shit was "industry standard" for years. Broadcast TV. Box TV. Ratings above 1.0 lmao. Shit changes. For 50 years we didn't have streaming, much less moving for it to replace classic broadcasting as internet expands. Doubling down on a take from a 7 year old report from an agency that was trying to convince people to still Buy Their Stuff, when you don't even have more modern information because you also refuse to Buy Their Stuff and dare to see if he's still on there and where, without asking what the MODERN standards have become. That's peak comedy.

Q scores were industry standard for 50 years, because for 50 years, the internet wasn't widely available, as powerful or full of accessible information as it is now. They used to HAVE to pay people to do that census knocking. Now, people's own browsing history tells on themselves.

And frankly, I don't buy the "well they're fandom so they can't afford to buy access". Bitch that lane spends thousands on cons every week, spent 5K on the shitty scripts we paid like 25 for. They throw money around like toilet paper on halloween. If they really wanted, and TRUSTED Jared to still place well *even on Q Scores*, they'd get a copy NOW to prove it. But they don't. Cuz they're scared. They have this one dated point and they're just gonna wave it around and pretend it still matters. When, flawed as they are modernly, there's a reason Q Scores retested twice a year. Because shit changes, guys. It's not 2016, I hate to break it to you. But I think they know that. Which is why they'll never buy the report or at least never post it. I wouldn't be surprised if one bought it, was crushed Jared dropped/disappeared, and then just pretended it never happened.

Jared was still. like. relevant and popular in 2016. It's post 2017 his downtilt started and then post-finale that it went into the toilet.

It's 2022 guys.

Over 90% (90.8) of americans have internet access, with the bulk not included there mostly being really old people, and the occasional super rare people that like live in the appalachians without shoes or whatever. Even most kids have the internet. The US has a population of 329.5M people and 313M of them have internet, only 16.5M don't, mostly infants and cryptid liches that refuse to touch a computer.

In 2016 it was a different story, with only 97M households with internet access. And less the handful of years before that. As you can see we've almost doubled households much less individual users in those 6 years. Since 2005, internet home penetration has increased from just above 50% to above 90%. So what was totes important in marketing during the 1970s before the internet even existed just isn't the same in the 2020s.

This is, even to the common eye, far better to pull data from than knocking on 1000 doors. Especially since the internet lets you also check international appeal as well, which knocking on US doors doesn't. Sorry.

The reason nobody talks about Q Scores anymore is because despite their valiant 2016 effort to revive themselves, they're still pretty obsolete. When a marketing agency is pulling less than 64K per employee BEFORE costs, there's a fucking issue. They literally just exist to prey on the companies run by people too old to understand how to change or modernize.

[criquette-was-here]

Long Due Replies

Hi everyone! It’s been some crazy few months for me. Real life has taken over completely so I didn’t have a chance to pay attention to my inbox. There are lot of asks on troubleshooting and I apologise for not being able to help on time. I hope everyone who needed help has got it somehow >.< There’s a crazy amount of messages, so I’m going to hide it under the cut.

@shutupshirley said:

Hi Criquette, I’m sorry because this is dumb, but I don’t understand how to install your neighbourhood lighting mod on an installation of Ultimate Collection... do I change out every lighting.txt file I can find across all the expansion and stuff packs? :/

Thank you!!!!

Hi @shutupshirley! I’m not a big specialist on windows version of TS2 and UC but I believe there are two folders you have to look at and they are ‘Fun with Pets’ and ‘Open for Business’

Anonymous said:

What do you imagine residents of Feverfew are called? I keep doing Peruvian but like Ferfewian or some

Oh, yes, I was thinking about this matter at some point! Feverfewian is what I came up with. I even found a wiki article about different names for different town inhabitants to sort of made it up a bit, but I haven’t write down the result I had and now I’ve lost it. I think feverfewians sounds best, it can even have some silly derivatives like ‘fewies’

@3sushiroll said:

Hi Criquette, I'm getting into SC4 and have been getting the hang of it while using the sims 2 hood planner. I've been starting to use bridges and have been using yours. When I put in the tile measurement into the hood planner (ex: 15 tile = 8 in SC4), it doesn't exactly line up in game. Does this usually happen for you and you put in a piece of fake road in the middle or am I just doing it wrong and it should line up super nicely? Thank you for all your wonderful creations!

Hi @3sushiroll! Yes, TS2 parses SC4 roads this way. I always put some decorative road in the gap or I make the shores narrower so that the bride would overlap the road. But to make slopes where the road ends equal, you have to use TS2 terraforming tool to make this flat empty piece of terrain right after the road end into slope so that it would look like the opposite.

Anonymous said:

Hi there, hope you're doing well! I downloaded your simple walkways set and noticed that they float. They don't sit on the ground properly. Is there anything I can do on my end to make them sit closer to the ground? Any help would be appreciated, thank you!

Hey anon! Thank you! Yes, this old set of walkways was made this way. Maxis made neighborhood mode roads float, so I had to do the same with road related decorations. But now you can use these Cobblestone paths or side walks from the Rural Charm, they’re as close to the ground as possible.

Anonymous said:

hey! would it ever be possible for you to create recolors of the cobblestone sidewalks in red brick/cobblestone?

Hi anon! I don’t think so :| I can’t even find the time to fix some Ferverfew related issues >.<

Anonymous said:

Hi Criquette. I liked Feverfew very much. I would like to make some of the houses multi-unit, keeping your doors in place. Is it possible to add the function of apartments to these doors? :)

Hi nonne! As far as I’m aware, you can only default replace those apartment doors which is quite useless. What you can do, is to put an apartment door right behind the front door. This, obviously, would eat up the space but could work as a solution.

Anonymous said:

Hello! I just downloaded Feverview and it's gorgeous! I can't believe all the little details you added, the effort and love you put into this project is incredible. I just had a small question: a few residential lots are fake apartments, I was wondering if you know how to turn them into functional apartments 

Hi anon! I’m glad you liked Feverfew! ^__^ In theory, you can use SimPE or Lot Editor to change lot type from residential to apartment and then implement apartment doors somehow, but since I don’t have AL in my Super Collection, I have zero experience in that.

Anonymous said:

Hi Criquette! :) I just realized recently that if I delete objects in game, I have to delete first the recolors of it. I've already deleted a bunch of objects without knowing about this, so now my downloads folders has houndreds of recolors without meshes. Do you know about anything I can do to find and delete these orphans? (Delphys download organizer just can't make difference)

Hi anon! I’m definitely not a helper on the matter of keeping Downloads folder organised, sorry ^^’‘ I would thing about finding sets of files with similar names keeping eye on the absence of the word ‘mesh’ in the names, and looking at the file size at the same time. And that would take ages, obviously. 

@ardyyy4 said:

Hello Criquette. I love Feverfew so much. But I have a problem. The grass and NHood objects are flickering together and it looks bad. How can i fix it? Thanks.

Hello Arda! That’s because of the neighborhood camera you’re using. I’d recommend you to install this particular camera just to get rid of flickering.

Anonymous said:

Hello! First of great content! Always been a fan! I was wondering if you could give a bit of advice with hood deco, I have downloaded an Ocean floor from Gwenke, and in lot view it only shows up at the very far edges, around my lot it is missing (it does show when render is set to small though). And it shows on beach lots too, I was wondering if you know of way to make it so that it is seen no matter what the view distance is etc? (I have the relevant cheats on btw) Thank you in advance!

Hey nonnie! Thanks :) Have you ticked off object hiding in the settings? Other than that, it could be camera issues.

Anonymous said:

is there a way to stop neighborhood decor from fading? I know there is the „boolprop dontmergenhflora“ cheat, but I still get some fading. for excample when I look at the lot from the street the NH decor by the street fades

That’s definitely sounds like object hiding option from the game settings :}

Anonymous said:

Hey how are you ? I hope all is well. I was wondering how is it that ts2 has no ski deco but in ts1 we had ski slope and skate lake !?? I was wondering can you and the sim community make deco or interactive items such as a ski slope or even snow shoes or just something that goes with seasons n BV pack ?

Hello anon! I hope you’re well too! Ski slope and winter sports related decos is something I wanted to make since 2016, but never had enough time to do so. Sometimes I even think about available TS2 technologies to make an animated ski lift and umm.. may be in the next ten years? ^^’‘

Anonymous said:

hello!! i'm sorry if u already answered something like this (i searched but found nothing) but the better nightlife isn't working for me :(( i put the better nightlife+voielle water on download fold and the decorations still flashing in pink light, i did something wrong? (i use win10) sorry for the inconveniente

Hey anon! Sometimes you have to do these weird steps in order to make it work:

remove Better Nightlife + water mod from your downloads folder,

load the game, load the neighborhood, make some changes, exit game

put Better Nightlife with water back. Toggle day/night with ‘L’ key to see if it works. If it’s not, than the problem is somewhere else. Pink flashing also could be unrelated to Better Nightlife, so I’d recommend to check TS2 graphics setting for Win10 manuals available.

Anonymous said:

Hello there, I'm having a problem with the rural charm, on lot view the roads have yellowish boards (idk how to explain exactly). I saw that was because of CuriousB terrain, but I don't have it downloaded anymore so I'm kinda confused. What should it be? Sorry for bothering,,,

Hello, anon! What’s current season you’re having in your game? It can be the season lighting differences that make roadside and terrain grass colors different. If it’s not, I’d check the Downloads folder to see if there’s still some terrain DRs I’ve forgot about.

@pinkflamingosims said:

Hi criquette! I was wondering if you have any idea why some hood deco cc crashes on mac, like palm 1 to 4 from the tropical 4t2 set by leoz94. Leoz94 says the only difference is the high polycount, but I don't think that's it, it looks a bit high to me but not insanely so, I have  other stuff in that range with no problem... Have a nice - evening?

Hey @pinkflamingosims! I hope you’re doing well! Yes, some hood decos are really make the game crash and frankly speaking, I think that’s jsut package related issues like broken references in the resource tree. The best way to fix this type of hood decos is to make a clean and stable new clone and replace mesh/textures again.

Anonymous said:

Hello and thank you for amazing Feverfew map! I have a problem... ground is flashing red and I cannot fix it, do you have solution for this problem? It's been soooo long when I last played Sims 2 so apparently I did something wrong when installed CC. :(

Hello anon! Thank you! Oh, red flashing could be the result of lighting mod not being installed correctly. I’d start with getting rid of any lighting mods to see if it helps.

@marv61​ said:

Hi Criquette. I just downloaded your terrain of Forkshire, it looks great! I know it has been since 2009 that you uploaded the terrain but I was wondering if you have a completed Neighborhood with houses, trees and all for download? I would love to play your version. Thanks.

Hi Patchman! Oh, goodness no! :D That was 12 years ago, those TS2 files are long gone since then.

Anonymous said:

Hi Criquette, first things first, I love your work thank you so much, you inspire me! Now the question: I have been using the dirt roads from your Rural Lanes set and found that sometimes it is difficult if not impossible to fit them to the slopes of steep terrain. Would it be possible to instead create road pieces as a texture like your Neighborhood Decals? That way they would "stick" onto the terrain regardless of shape. Wondering what you think? Love!

Hello and thank you, anon! The problem with the decals – we can’t see it in lot mode yet. And it must be a DR only so we’d have to ditch one of the Maxis’ decals for dirt road, which isn’t great too.

Anonymous said:

Hi Criquette! Will Betternightlife mod ever be updated to work with lighting mods with dawn and dusk? Is there any that already works with it? I really want to use the light up hood decos!

Hey anon! You can use it with lighting mods that add dusk and dawn to the game. For instance, there’s one here by @dreadpirate​.

Anonymous said:

Hey Criquette! I recently used your template to make lit-up hood deco buildings using the Better Nightlife mod. The day text was great! However, the night texture was being clipped by the day texture. That is, some parts of the day texture was showing through the night texture. Is there a fix for this?

Hello nonnie! I’d recommend to check the meshes to see if day/night parts clip through each other and if they aren’t I’d check if all the day/night TXMT data is correct.

@criquette​ said:

I've installed Fewerfew following all your istructions. Apparently it works but the night lamps are flashing pink even ig I've installed the mod better night light. It seems that this mod does not work properly. Any recommendation?

Being Criquette, you should know the solution to that issue yourself :P Just kidding, sorry, couldn’t resist! If it flashes pink only by night than you have to check your ‘Downloads’ folder for conflicts. If it’s flashing constantly day and night, than I’d better check graphics setting using some windows related guides available across the Internet.

Anonymous said:

Hello, I love Feverfew and it's amazing. I have a problem where Linden Tree 1A isn't showing up in my game even though it's in my downloads folder. Also the railroad tracks are flashing blue, and those are in my folder too. Thanks in advance!  :)

Hello anon! What type of the trees you’re using? Stand alone or default ones? If you’re using defaults, you can find the trees under Maxi’s oaks accordingly. As for the flashing blue railway tracks, check if you have this set in your ‘Downloads’ folder :)

Anonymous said:

Hello Criquette, before asking for help, I came to say that the Brazilian community loves your creations. But, to get to the point, anyway, I have been thinking about creating a Hood (inspired by Rio de Janeiro), so I would like to know how to create Deco Hoods for my game (the statue of Christ), I can't find that anywhere, Would you help me?

Hi there! Ah, most kind, thank you ^^ Well, there’s no big deal in creating hood decos. You have to switch your SimPE to advanced mode and after that neighborhood decoration will be visible in the catalogue to be cloned. I assume you already know how to make lot mode objects and know how to create, edit or convert meshes/textures though.

@hideshio​ said:

Hello! I found your train set (and it's AMAZING) on mts and was wondering if you had a railroad crossing sign? With the lights, X, and the red/white hand that goes down. Or the lights that go across a pole above the railroads. Thank you!  =D

Hello @hideshio​! Well, there is a railway crossing sign with lights and red/white hand included in this set :D it’s not animated though. But still!

Anonymous said:

Hi criquette, I’m a huge admirer of you work and I was wondering if you had any advice regarding road placement. Specifically the difficulty of road pieces that are deco only being able to be placed underneath the actually roads leaving it looking a little off.. if there a way to raise them higher before placing them or some kind of work around? 

Hey anon, thank you! Unfortunately, there’s no way to make decorative road pieces work for lot mode and neighborhood mode at the same time. If you lift them so they look okay in hood mode, they will float in the air in lot mode. Since my latest creations are lot mode oriented, I’ve decided to save my efforts on making road pieces even with neigborhood mode roads.

Anonymous said:

Hey Criquette. I noticed that in my Feverfew none of the buildings across the street of Feverfew Sports Hall show up. I know those are supposed to be hood deco and look like duplex buildings, but I can't figure out what I'm missing. I deleted and redownloaded everything and couldn't fix it. Also the river ends at the first bridge in front of the cathedral, so the boats next to it appear to be flying. What is going on?

Hey anon! There’s definitely some files missing. If you’ve checked and redownloaded all the files, try to replace the Feverfew neighborhood folder with initial one. The game never restores disappeared hood decos by itself. Even if they were placed in the folder after their absence is discovered.

@simping-simmer​ said:

Hi Criquette, am I remembering correctly that there is a trick you can do with SimPE to change the height of individual pieces of hood deco? I’m struggling with putting ships in my dock because if I change a CC ship’s placeability to be able to be on both land and sea, it just sinks, but if I only keep it on sea, it can’t get close enough to the shore to place it in my docks. Does this make sense at all? Lol

Hello @simping-simmer​, you’re absolutely right. You can change the height of placed hood decos via SimPE. Things you need to do are described here and here

Anonymous said:

Hello! I love all your work.  I was wondering if you had ever thought of making some desert roads along the lines of the Terrain Mod: Dusty Roads for Desert Neighbourhoods by Stev84? I love the way this looks in my desert, but unfortunately, this mod makes the road in live mode a floor, which then makes you unable to place driveways.

Hey anon! Thanks ^^ Frankly, I don’t have any plans on creating any desert related CC at all :|

Anonymous said:

Hello Criquette. I would like to thank you for all the amazing work you have done creating content for sims 2. Thanks to you all my projects are possible. My question is: Chainlink fences for neighborhood deco... Do they exist? Searching the web these past day only found for build mode. Do you know of someone who already make some for deco hood? Or kindly will you be able to make some if its not much work? My sports fields and Industrial zones will be pleased for sure! Once again, thank you! :)

Hey anon and thank you! I don’t think hood deco chainlink fences were created by someone yet, but they definitely would be a great addition to the game. I was going to create some while working on Feverfew, but never had enough time to do that. May be i’ll make one at some point in the future!

Anonymous said:

Hello, Criquette. Do you know of any way to place lots without the area around it moving? I downloaded Ousmeo's remake of your Dullsfielde and read his og post using the waytime machine. When viewing that post, Tumblr recommended similar posts, one of which seemed to be a tip to prevent good deco from moving when placing lots nearby, but that post wasn't archived, so I can't visualise it. My guess is that if anyone else knows about this, it must be the best hood decorator that ever was ;-)

Hello anon! Ugh, this TS2 ‘feature’ is driving me mad quite often too! Unfortunately, there’s no easy way to get rid of it. The only way to fix the consequences is to backup initial hood folder and when you finish placing lots, replace spoiled terrain with the initial one with SimPE or HoodReplace.

#replies #answers #asks #Anonymous

[secretgamergirl]

A Little Horrifying Primer on Transphobes

Some time ago, I put together a Little Fact Checking Primer on Trans People, as a basic resource for disabusing people of some of the many completely ridiculous yet absurdly widespread beliefs about trans people that simply have no basis whatsoever in reality. And wouldn’t you know it, every single lie exposed in that primer is not only still widely believed, but is presently being used as a basis to sign some absolutely horrific human rights abuses into law. So it’s high time I follow that up, in this case focused more on who keeps actively spreading these lies and why. I’m going to try and keep things as light as I can here, but we’re going to be looking at the most monstrous side of human nature, so apologies in advance if this is a dark read.

First, let me just note that there are two things I don’t plan to do in this piece. I’m not going to waste time debunking the arguments of the people I’m highlighting (much of this is already covered in my earlier primer, others have done the work in cases where I haven’t, and frankly these people’s claims should be self-evidently utter nonsense to begin with). I am also going to be very selective in what I link to, or even share related images of, as I would frankly not like to fill a post on a blog I generally try to keep safe for all audiences with media directly dealing with, for instance, child sexual assault, and much of the relevant information also involves stochastic terrorism against innocent people, and I would prefer not to throw more fuel onto such fires.

Transphobes lie constantly, about everything.

To some degree this is obvious. We’re talking about people who scaremonger about the possibilities of trans women dominating competitive sports and assaulting people in restrooms, despite the status quo already reflecting the conditions they insist would make these inevitibilities for decades and centuries respectively, and their grim visions never once having come to pass, and also constantly insisting that the woman in the photo below is actually a man, going further to say this is evident to anyone giving her the merest glance.

It goes beyond that though. There’s at least a little plausible deniablity in claims like this, or that “science is on their side” if they were simply uninformed about the world they live in, never actually looking into what laws exist, what science actually says, and never actually meeting a trans person or even seeing a picture of one of us. I’m talking really bold lies here. Like wholecloth fabricating a story that a convicted murder was trans, including anecdotes about wigs dresses and a planned name change, in a major newspaper. Or to cite an old favorite of mine, the time a pack of bigots walked up to a crowd of people peacefully picketing a transphobic legal proposal, started roughing them up and taking closeup photos of members of the crowd to stalk online when they got home, got sufficiently riled up for one to straight up assault an innocent person half her size, filmed the whole thing, uploaded it to youtube, and used stills of that assault as acomanying photos when they went home to write articles about the assailant being a “grandmother” attacked by rowdy trans women. And yes, they did monkey’s paw my wish to see that specific image on newspapers. Interesting side note, when it came to real public light that J.K. Rowling endorsed this sort of hatred, it was because she accidentally pasted some profanity laden rambling about how the imagined moral character of the other party in that incident, years after the fact, into a post praising a child’s fan art of her work.

To be a little less niche, transphobes can’t get enough of spreading the lie that the young fellow in this photo is a girl. Specifically a trans girl, providing proof that all their scaremongering about the dastardly threat of trans girls in competitive sports has finally come to pass.

To be fully clear, that’s a man (or a boy if you want to split hairs about him being 17 in that photo). Mack Beggs. A rather insidious choice for this sort of story, considering the actual context for that photo. See, Beggs attended high school in Texas, during a (still ongoing as I write this) period wherein that particular state had caved to this exact sort of propaganda, and in order to head off a wholly imagined wave of trans girls competing on girls’ sports teams, and enacted a law mandating that in all such competitions must compete under whatever gender is stated on their birth certificates. And as it happens, the first, and to my knowledge ONLY time this has come up was with Beggs here, who again, is a man, as no one with a grip on reality could argue against, has “female” on his birth certificate. Which is another way of saying he is a trans man. The guys in the same boat as trans women who we talk about a whole hell of a lot less because their existence is extremely inconvenient to the majority of transphobic propaganda. Case in point. And this is all information it is really impossible to come across if you’re coming across this photo in any sort of respectable source. Take this story, which is as unambiguous about this as you can get. And yet, in the very comments section of that story, there they are. Carrying on like this story about a trans guy, forced by a transphobic law to compete as a girl, which he absolutely did not want, and received horrific threats over, using phrases like “female to male” and bringing up that he was assigned female at birth and is on testosterone-based HRT, is about a trans woman cheating the system. Or to quote word for word, “Now also transgender female want to be male also compete in female sport. biological born“ That’s not “being confused,” that’s standing next to you in a white desert and complaining about being adrift in a black ocean, bald-faced, not even trying to be convincing just make a power play, lying through one’s teeth.

I could spend this whole article on just this point. Lying about who they are, various people’s falsified credentials, whole websites full of “anonymous parents of children who think they’re trans” turning out to be one single woman documenting the abuse of her very much trans son, or of course the people behind the whole “bathroom bill” panic candidly admitting it was all based on utter fiction. I do have other points to cover though.

Transphobes are firmly entrenched in the media.

It is extremely difficult to find oneself in a position of having to explain to people that a particular group of people is effectively in control of press outlets, as that is rather classically a claim conspiracy theorists absolutely love to toss around at various marginalized groups (including trans people hilariously enough, but of course the most common and lingering version of this is the antisemitic variant). I really can’t get around it here though. Specifically in the U.K., you honestly can say that transphobes control the media. I already touched on this with the assault case I mentioned above and the fabricated story about the murderer, but this is a pretty well-documented situation. I mean, even The Guardian calls out The Guardian on this, and that’s the outlet that gets the most attention because it’s the one with the most otherwise respected name, but every paper in the country has been running transphobic propaganda pieces on a weekly if not daily basis for years now, and while they do get reprimanded by watchdog groups and have mass walk-outs over the worst of it, it’s not like there’s some governing body with the authority to step in about it. Meanwhile the BBC is constantly inviting diehard zealots like Graham Linehan to news programs where he compares being trans to being a nazi, and hosting debates where someone just sits down and repeatedly chants the word “penis” at a trans woman.

Things are better in the rest of the world, but we still have right-wing creeps like Jesse Singal both writing horrific propaganda pieces (we’ll get back to that one) and blackballing trans writers out of covering trans issues ourselves (and personally stalking the hell out of those of us who try). We’ve got our Joe Rogans and Tucker Carlsons out there (no way in hell I’m linking videos here, have a real information link and a still).

The line between diehard transphobes and straight-up nazis basically does not exist.

What even is there to say here? You can easily poke around havens for nazi activity for yourself and compare the particular unique vocabulary used there to the primary bastion of anti-trans hate speech on the internet (the “feminism” section of what was originally a site for parenting tips before violent fascists took the forums over) or just peruse the follows of the thousands of people I’ve blocked on social media and see if you can sort out a clear division in the networks of channers with frog avatars and the accounts with names like GoodieXXrealwoman, or you can read up on Gab and Spinster, the two twitter alternatives that are just different portals to the same server, set up by the same guy. Maybe do some research into “the LGB Alliance,” or WoLF but any way you slice it the only real difference to be found is the general purpose nazis take a little time off now and then to watch borderline pedophilic anime and the really dedicated transphobes think to use language that sounds vaguely well-educated and left-leaning. I mean, this came from the “feminist” side of the fence:

And not to belabor the point here, but the ones claiming to be a bunch of “feminist mums” sure do let the mask slip any time they’re confronted with the fact that “women” includes black women, and oh just have a whole thread about all the weird conspiratory theories these people have about how trans people’s whole existence is some sort of Jewish plot for world domination. I swear a few months ago they were all passing around a story about some bank having an above average number of trans employees and they were all just “and we all know who controls the banks, right?” about it.

Transphobes endorse an awful lot of people who are openly pro-pedophila.

This is the part where I am really loath to link the many many specific examples I have on hand. Or to talk about this at all for reasons of good taste. Or, for that matter, to talk about this in a tumblr post when there’s an ongoing problem of people with backgrounds strongly tied to this site making baseless accusations of pedophilia against every queer person they can find, so let me be very clear just what I’m talking about while avoiding anything too graphic.

That’s James Cantor. Transphobes love him for being one of the closest things they have to a scientist on their side. And I am featuring him in a screenshot here showing that he is followed by current queen of the transphobes J.K. Rowling, while speaking to both another big name in transphobic circles, Debra Soh, and based on their names, what I’m guessing is at least one straight-up nazi. And in case you think “the P” he’s talking about adding to LGBT (or “GLBT” as weird anti-queer bigots who also have issues with women often write it) might stand for “poly” or “pan” he’s all too happy to clarify that.

This is the entire thrust of Cantor’s work and life. He is the world’s biggest pedophile rights advocate. He wants it declassified as a mental disorder, all stigma on it removed, and tirelessly pushes forward the idea that the majority of.. people who feel compelled to sexually assault children are good people who present no potential harm to anyone and should in fact be lauded.

I am not generally one to claim that someone with a PhD is spewing out questionable garbage with regard to their field, but the reason I am aware of Cantor at all is that other transphobes keep trying to hold up a particular post on his blog as "a study” (which it is not) that offers “proof” (in the form of a blurry jpeg of basically some random numbers) of some ridiculous quackery about how trans kids will “grow out of it” if exposed to conversion therapy (another way of saying torture), which Cantor himself seems to be pushing, so I am somewhat skeptical of his academic chops. And I am, of course, REALLY suspicious that all these other bigots gravitate to him purely because they’re that desperate to find anyone with a PhD in anything that backs them up against literally every scientist in a relative field, to the point that they merely forgive his particular advocacy they are plainly all aware of, particularly when such a common fig leaf used by transphobes is “keeping children safe from sexual deviants.”

And of course, Cantor is most often invoked when coming to the defense of Kenneth Zucker. This Kenneth Zucker.

Those are separate papers. Zucker isn’t controversial though for organizing panels to discuss how attractive people agree small children are (at least not exclusively). Mostly, he’s known for running a conversion therapy center which subjected gay and trans children to various sorts of torture in an effort to “fix” them, which at least for those trans "patients” I have spoken with involved a fair amount of having them strip completely naked and talking a lot about their genitals.

Zucker is something of a controversial figure with the transphobic scene, as they are extremely on board with his sexual torture of queer children, but he does actual work (for some value of the term) involving trans people and thus is not able to commit as fully as they would prefer to making life horrible for trans people, due to a professional obligation to acknowledge reality now and then. As an aside, the similarly positioned Ray Blanchard, while not to my knowledge particularly interested in the attractiveness of children, lives in a similar purgatory of trying to reconcile his career, bigotry, and sexual hangups, yielding compromises like this:

Of course, that’s just looking at the straws transphobes grasp at when looking for scientific credibility. Real leaders of the movement include Germaine Greer, author of The Beautiful Boy, which is about what you are afraid it might be, and features a very young child in a cover feature he did not consent to posing for. Or Julie Bindel, who among other things is rather infamous for writing whole articles on subjects like whether a teenage girl she came across maybe has a huge penis you can totally see if you really squint at her skirt. Again, I will not share a link to go along with that one.

Transphobes terrorize and attempt to defund charities and other unambiguously good organizations.

Graham Linehan, previously best known for cowriting some sitcoms and possibly spending a year angling to get into my pants so awkwardly I didn’t pick up on it is now best known for trying to pull the plug on a children’s charity, in a story that somehow also involves Donkey Kong. Well, and the interview about nazis. And possibly the other interview about “defending me from nazis” until it got into his head that I might not be as young and hot as he imagined. Rather not link to a far right extremist youtube channel though.

There’s also a current effort to replace Stonewall (an organization named after the location where a pair of trans women kicked off a riot which is generally agreed to be the start of the LGBT+ rights movement) as the UK’s primary LGBT+ rights organization with the “LGB Alliance.” The hate group mentioned above, with the skull face and the rifle. Closest I can find to an article on that effort on short notice that isn’t propaganda.

Transphobes paper areas in truly disgusting propaganda.

I don’t want to directly link to grown adults skulking around children’s playgrounds and bathrooms plastering surfaces with mass printed stickers of crudely drawn penises, but would encourage you to read this very long post, being sure to load all the images, to really understand how deeply strange this behavior gets.

Finally, I cannot stress this enough, this really extreme behavior I’m citing, and the specific people involved in the examples I’m giving, these aren’t random cranks on the fringe of things. The people going on televised panel discussions, writing up news stories, and testifying before lawmakers in efforts to pass horrifically discriminatory if not literally life-endangering laws (there is a major ongoing effort to legally end all medical care for trans people, and I don’t just mean care directly relating to being trans) are literally the same people involved in the sexualization of children, nazi collaborations, and roving gangs assaulting people in the street. At a bare minimum I urge people, when booking guests and handing out writing contracts, to do background checks and see if they’re platforming actual terrorists. If we could actually bring legal consequences to bear against the worst of this, that would be great too. As things stand though, the whole world is just consistently citing a bunch of racist, woman-hating, serial liars with no real credentials, and questionable attitudes towards the sexual abuse of children, as “trusted experts” and refusing to seat actual trans people or people who have legitimately committed lifetimes to academic and practical work with trans people any seats at the table.

#trans #transphobia #educational resources

[poptod]

The Ivory Haunting (Ahkmenrah x Reader)

Description: His face is engrained into your head but his name is nowhere. Where does he exist? Why are you so obsessed?

Notes: this is strangely creepy and i dont know why. its not what i meant to do but i think its cool anyway. gender neutral as fuckin always WC: 3.1k

+

There's this carving – more of a bust or sculpture – that has your mind twisted every which way. It's a stupid thing, really, but you can't get his expression out of your head, and thus it haunts your waking and sleeping hours. The style is Egyptian, you think. He's wearing a crown on his head, one that you've seen in a couple museums before, and he has an absent smile on his face. While you scroll through the endless amount of photos of ancient Egyptian statues online, you note that it's an all too common expression.

At this point you can't even recall where you first saw it. Could've been through the endless internet surfing or the many museums you visited in your travels, but at the end of the day you're stumped. What was his name? Where did you meet him?

It's clear as day. His alabaster skin. He looks straight at you with empty eyes, the irises having eroded many years ago in the hot sahara sun. His nose has long fallen off, leaving behind a jagged scar that drags from his brow down to his lips, where that haunting smile sits so easily. They're full, his lips – sweet, and soft, even for stone. At each end are little dips, showcasing the slight smile. His chin is a little big, but it makes way for the sharp contrast of his jawline. He has cheekbones – mostly hidden behind the crown – and his ears are a little large. The trait that draws your attention each time is his eyes. Blank. Like they had truly been staring at the world for thousands of years.

You don't get out much anymore, not since the restrictions were put in place. There are moments, especially in the dead of night, in which you want so desperately to leave your tiny apartment, but the curfew states otherwise. Policemen and government workers roam the streets and you'd rather not get into a tussle over something so small as an urge.

Still, you stare outside your window, wondering why it feels like you're suffocating. This is how you spend a lot of your time nowadays, staring at the streets. There's hardly any cars out, and the sidewalks are barren, a sight you'd seen only once before during the original quarantine. London is not a quiet city. It's quite the opposite, and to see it muted is in the least upsetting.

Your job is... easy. Considering the state of the world, you're incredibly lucky, retaining your job and keeping away from the outside. You also get a lot of free time. Usually you'd spend it in front of a television, or in a good book, but now it's in front of your computer screen. The typing marker flashes in front of you, placing behind it the clear words you've searched at least a hundred times by now.

ANCIENT EGYPTIAN BUSTS

By now you know what the first images are going to be. Nefertiti, mostly – her bust is by far the most famous. Then there's of course Akhenaten with his elongated skull, followed by several advertisements for Kemetic worship.

You don't know much about Egyptian history. Or, at least you didn't use to. Now you recognize the faces, though rarely do you ever remember the names of the many forgotten dead. You're just looking for one – one name, one bust, one dead man.

He's nowhere, not in the books you buy or the articles you read. When you sign up for an online course of ancient Egyptian history, you expect to see his face in a textbook, but he's not there. Sometimes it feels like you're the only one who remembers him, which is funny – you don't even know him. Either way it's a way to occupy the time, since you have so much of it lately.

The British Museum is reopening. There's a whole thing about COVID, of course, and the only way to enter is to get tickets online. Only a handful of people are allowed inside the museum at once, and since you don't hear about it until later, you are set to wait a month and a half before you can visit. Bitterness wells up in the pit of your stomach, but like most things you set it aside. None of it really matters anyway – yes, not knowing his name feels like drowning mid-air, but it won't kill you.

From the moment you reserve a ticket to the moment you can actually use it, you dream of him every night. Sometimes it's actually him, no longer a statue, taking your hands and leading you somewhere you don't belong. His skin is warm, unlike his statue, but just as soft as you imagined. His nails are meticulously cleaned and his eyes are bright, full of a life you're desperate to understand. It doesn't make any sense. You're yearning so deeply for him, for something you've never known before, and every second away feels like pure horror in your veins.

Why do you need him this much?

You look at yourself in the mirror, fixing a strand of hair that falls in front of your eyes. You're dressed well – at least comparatively to your former few weeks of dress – and a quiet excitement thrums in your heart. Today is a day you're going to go out, and to make it better you're going to the museum. They have an Egyptian exhibit. A foolish part of yourself hopes you'll find him there, nestled in the corner of a long and fruitful hallway filled with Egyptian statues.

It's... disappointing, to say the least, to find out there's only one room for Egyptian exhibits and it's occupied by only one thing, besides broken pots and stone dolls. The main exhibit's name is Ahkmenrah, a young Pharaoh older than the Great Pyramids of Giza. All information on him can be fitted onto a four by six stone plate. While standing in his room, surrounded by hieroglyphs you've been studying hard to understand, you look him up on your phone. There's little mention of him, but the one article you do find on him has a 3D recreation of his face. He looks white and you know the article's bullshit.

While absently holding a conversation with one of the curators, you discover there's a store of Egyptian exhibits kept underneath the museum that aren't fit for showcase since the downsizing. Whatever that means, you find a sliver of hope, one that pales quickly at the realization you'll never be able to go down there. They wouldn't let some random visitor (who wasn't even an actual historian) to go see closed off exhibits.

Fischer, the director of the museum, hires you four months after you send your resume in. The second he does you set your plan into motion – there's no time to waste.

The same day he gives you the keys, you're sneaking in under the cover of night. For some reason, the lights are still on in the main museum, but fortunately that's not where you're headed. You unlock the backdoor, sneaking through the night guard's break room until you find the door to the basement. Flipping through the keys on your ring, you quickly find the right one, shoving it into the keyhole and almost wrenching the door open.

You run down the stairs. It's almost sprinting, but you can't be too loud with your shoes. There's nothing in your mind except him, his funny little smile, the somehow soft alabaster of his skin. You need to get to him. Something inside you says he's here – he's here, he's here, and there's nowhere else you can be without your whole body combusting.

You stop dead in your sprint, chest heaving as you're faced with the open boxes filled with Egyptian busts. With frantic eyes you look them over, searching desperately for one familiar face, finding none until the very last open box.

It's here.

He's here.

The broken nose, the formation of the resulting scar, you recognize every. Fucking. Inch.

Each box contains little notes on who the statues are (if known), the material, the time period, and other such relevant information. Your hands shake as you reach forward, slipping the piece of paper out of the paper stuffing.

King Ahkmenrah

Date: ca. 3,100 - 3000 B.C.

Period: Old Kingdom

Place of origin: Egypt, Cairo

Medium: Ivory

Ahkmenrah.

Sudden clarity strikes you as it never has when you recall searching his name online. He's the exhibit. He's the mummy upstairs. He's actually here.

The blood in you freezes for a moment, caught up in shock and relief. Now you know his name. A small part of you is finally able to rest with the answer, but the rest of you knows exactly what to do – go upstairs. Find the exhibit. Lay at his side. After all this time you still don't know why, but the ache of neediness in your heart is enough to leave you weak to your inner desires.

Now that your head is clear, or at least unhindered by your questions, you note a worrying amount of sound coming from upstairs. Footsteps pound on the ceiling as you climb the staircase, leaving you curious and terrified. That many people shouldn't be in one place – it's a death wish for the modern plague. You grit your teeth, fingers curling up in to fists that dig your nails deep into your palm. Is it safe to go upstairs? There's definitely people up there and you have no idea who they are. The museum could be being robbed right now and you wouldn't have a clue. It's a death wish.

Why are you still going up the stairs?

Why are you opening the door?

This shouldn't be happening. There's enough people to fill the whole first floor, ranging from the public entrance of the museum to the African exhibits in the back. Almost all of them are wearing historical outfits, in such a wide array you might've thought they'd stolen them from the exhibits, had they not looked exactly like the wax figures. The marble statue of the Roman on his horse is no longer on its' pedestal. Actually, he's talking to a woman a few feet away from you, though he is still on the horse.

You should be passed out on the stairs going by how fast your heart is beating, but instead you stand in the doorway petrified. Your eyes sit wide, scanning back and forth over the crowd, searching for something you don't know of. With all the stimulus in front of you, you don't even know what to think. The exhibits must be coming alive. Does someone watch over them?

It's then, with little clarity in your head, that your eyes land upon the night guard. She doesn't look in the least bit rattled, so you easily assume she's used to this. Her calm is so alarming to you that you blink yourself back into your body.

These are... people. Just people. They haven't been put under some curse that'll bring chaos to the world. All they're doing is partying, and though the noise level is a tad unpleasant, it's just about as rowdy as some teenagers.

When you realize you aren't in danger, you bolt from your place at the door. Twisting through the gathered crowd, you slowly make your way to the staircase, ascending with quick feet as your eyes lock onto the Egyptian hall. It's a few more feet until you turn sharp, shoes squeaking as you slide into the room. The familiar gold lighting greets you, shining off the open sarcophagus, which you skid to a halt in front of as your lungs desperately try to catch up to your legs.

Of course it's empty. Your Pharaoh – or Ahkmenrah, you suppose you should use his name now that you know it – must be downstairs, where the life of the party is. Why would he stay up in this empty room, all alone? From here you can barely even hear the music that was once pounding into your ears. Still, for a moment you stare at the bottom of the vacant coffin, caught in the awe of such a long-standing history.

"What are you doing here?"

The words catch you by surprise, and in reaction you whip around, eyes wide as the voice continues, "who are you?"

My King. Before you can even process the thought, the words roll onto your tongue, but to your immense relief you catch yourself before actually opening your mouth.

"I..." it barely comes out with how little you've physically spoken recently, "I work here."

As usual, your voice carries that quiet, calm, slightly annoyed tone that makes people wonder why you're being so difficult. It's not really something you can control, but the King doesn't seem to notice. Maybe it's worked to your advantage this time; despite your racing heart and frozen feet, you keep an even tone.

"I don't think I've seen you here before," the King says, his eyes narrowing as he steps closer. You try to back up, but you're already pressed against the sarcophagus, and his glare keeps you from running.

"I just started today," you answer honestly.

"Ah," he says, his voice softer the moment he begins to believe you. "This must be rather alarming for you, then."

You're not afraid to admit he's right.

"A tad. How do you speak english?"

"I learned it during my time at Cambridge University," he answers. He's from over 4,000 years ago, so you know he didn't attend as a student.

"You were on display there?"

"Yes," he says with a bright smile, one that catches you entirely off guard.

It practically blows you away – his demeanor changed so quickly, from a stern Pharaoh to a sweet, young man who probably bought his girlfriend flowers every Monday. For a moment you wonder why you were so caught up in him before knowing him; now that you've heard his voice, seen the way he moves, your interest increases tenfold. It's not enough to see him. You need to touch him. You need it more than anything.

"I've been looking for you," you blurt out, but the words come out so slow it sounds like you consciously chose them. You bite the inside of your cheek as you watch his smile falter.

"What do you mean?" He asks. He's standing in front of you now – if you extended your arm and took a small step closer, you'd be touching him.

"There's a sculpture of you," you say softly, swallowing the lump in your throat, "but I didn't know how to find your name."

"How'd you find me, then?" He asks, but he looks less offended. Now there's a keen look in his smile and in his eye, like he's going to enjoy this, like he knows something you don't.

"Sheer luck," you say with a shrug. It's mostly true.

"I think I know you," he says, and his smile quirks further upward.

"What?" You say, trying to back up again as he steps closer. The sarcophagus is, unsurprisingly, still behind you. "How?"

"Back when I was a King, I had a slave my brother killed," he says in the least comforting tone, "but my father had this idea."

Another step closer. You can feel the heat of his naked waist on your shaking hands.

"See, he had a magician in his employ, and he would do anything for me. Especially since I loved that slave so dearly. Truly," he leans forward a little, placing his hand on the gold case behind you and trapping you against him. His chest is practically right against yours, but what you are close enough to feel is his breath, soft on your collarbones. "And so my father retrieved the soul with a special spell and sent it into the future, to possess another at birth, and to lie in wait until I called for it."

You can't feel your – well, anything. There's a pressure on your chest, but you can't tell if that's your wildly beating heart or just his warmth skewing your senses. All you can do is stare up at him wide-eyed. He can't be telling the truth. Magic doesn't work like that, it can't work like that, that's a sick story and he's telling it like it's nothing more than normal. Possessing a newborn child. Sending souls into the future. It can't make sense. You almost feel bad for your past self – under the employ of someone so cruel as to take a soul from the afterlife for his own pleasure.

But he's standing before you. He's 4,000 years old, and he's standing in front of you, pushing you against his own coffin and trapping you there. Do you belong to him, then? Is that why you can't get him out of your head?

"When did your search begin?" He asks softly, a gentle curiosity evident in his brow.

"A – about a year ago," you say, your voice so broken and shaky you're surprised he understands it.

"Last winter?" He asks knowingly, almost sweet, like he's doting on you. Then comes the part that really makes it shine; he reaches up and pets your hair, moving in long, soft strokes.

You nod, unwilling to meet his gaze any longer. How red you must be by now.

"I called on you then. It took you a little while, but I'm glad you made it," he says, pressing a soft kiss to your forehead. "Unfortunately, I suppose you haven't retained any memories, since you didn't know my name."

"I guess not," you agree quietly. "I just have instincts."

"Instincts?"

You're reluctant to share with him the many instincts you'd had even in the short time from meeting him to now. The pure need to touch him. Past You probably had a crush on him, and even though you aren't really that person anymore, there's a need inside you to hide that fact from him. 

"I wanted to call you my King when I first saw you," you admit, your voice still quiet in hopes of him not understanding you.

"You won't have to call me that anymore. Maybe a tad around my parents, but when we're alone you may use my name."

"When we're... alone?" You question nervously, heart pounding at the thought of spending more time with him.

"You do work here, don't you?" He says with a sly grin. "I think I'll be seeing you quite a lot."

Oh.

Oh no.

Oh God.

If this is how you react just from spending five minutes with him, you can't imagine spending whole nights at his side. You'd explode. From what you don't know yet, but the pulsing rush in your heart is strong enough to worry you, and very rarely do you ever worry about yourself. The words in your head – your immediate reaction – simply won't pass. You can't bring yourself to say them, so you say what he wants to hear.

"As long as you want to."

#ahkmenrah x reader #Ahkmenrah #Night at the Museum #rami malek #rami malek character #ahkmenrah x male reader #ahkmenrah x female reader

[josefavomjaaga]

Helfert, Joachim Murat, Chapter 6, Part 4

Sorry as usual for the long delay. I really had to finish some other work. When we left off, Murat was still in Corsica, planning his landing on Neapolitan soil.

In Ajaccio, Murat's imminent arrival was soon known, and on the 23rd, when he made his entrance, a reception awaited him that sealed his doom. For now he was drunk from joy and a feeling of victory. His pride, his ambition, together with his adventurous, extravagant imagination, won over him to such an extent that he remained completely deaf to calm ideas, to rational arguments. "This is how my Neapolitans received me," he exclaimed to Franceschetti in the evening, "whenever I returned from the field to their midst!" And after a while: "Yes, so be it! I will live or die among my people! I want to go to Naples, let us not miss a moment to be there!" To make the measure of his delusion complete, a letter from Count Borgia of Rome, sent to him via Porto-Longone, came into his hands in these days, describing the mood in Naples as immensely favourable to him, and King Ferdinand as hated everywhere. Lambruschini, who could teach him otherwise, was, as we know, not even in Naples at that time, let alone that any news had arrived from him, which, incidentally, in the mood in which Murat now found himself, would hardly have changed his decision.

The next few days were spent preparing for departure. As a side piece to the Bogognano Manifesto, he now had a "royal decree" drawn up which could almost be called Napoleonic, so much thought was given in it to the most insignificant details. The constitution is to come into force on 1 January 1816, and the convocation of the chambers is to be initiated without delay" (Art. 1). "All civil servants, officers and dignitaries discharged since May 21 shall immediately resume their official positions; the former division of the army shall be restored; all grades, all allocations, all promotions, honours and rewards made during the last campaign shall remain in force (Art. 2, 8, 10). On the other hand, all those appointed since that day shall immediately leave their posts, otherwise they will be declared rebels, inciters of civil war, traitors to the fatherland, put outside the law and treated as such (Art. 3, 4). Neither the royal palaces, summer residences and estates were forgotten, for which the former court servants would once again have to take care, nor the king's horses, equipages and carriages, for which the chief stable master and his staff were made responsible (Art. 13, 14). "All our adjutants and orderly officers must appear without delay at Our Headquarters and rally around Our person" (Art. 18). . . The decree, consisting of 20 articles, was calculated to 36. It provided for the composition of the ministry, for the filling of the leading military posts in the capital and in the provinces. But because it was pointed out to the "King" that a premature appointment of these personalities, most of whom were in Naples, would only expose them to Ferdinand's revenge, Murat agreed to the relevant articles being suppressed. The decree and the manifesto were then sent to the printers at Ajaccio, in order to have a sufficient number of copies of both at hand at the first moment. The place and date of execution were left open; both headings were to be filled in as soon as they were in place.

On 28 September, everything was ready for departure. The desired vehicles were prepared and equipped as needed: there were five trabacoli and one felucca, larger barques (gondoloni), as the Barbaresks used them for their raids; the crew to be embarked, officers, soldiers and seamen, numbered about 250. Immediately before embarkation, the "King" promoted all officers by one rank each and awarded the Order of Both Sicilies to those who were not yet decorated with it. The relevant decrees were written in all royal chancery style, so that the clerks available in Ajaccio had to be diligent enough in their work.

Joachim entrusted the supreme command of the flotilla to the frigate Captain Barbara, a Maltese by birth, who had been given the baronate by Murat.

On 25 September, Colonel Maceroni had arrived in the port of Bastia, from where, after learning that Murat had departed from Vescovato, he had telegraphed his imminent arrival in Ajaccio. At noon on the 28th, he arrived in the capital of Corsica and went to Joachim without delay to inform him of the conditions of the Great Powers, to hand over the travel documents for the journey to Trieste and to enclose his most urgent ideas not to reject the offer made to him out of hand. At the same time, the British Captain Bastard, who had long ago arrived in the port of Bastia with the frigate Mäander and two sloops of cannon, offered to take the ex-king across the sea. But it was impossible to have a sensible word with him. If the Corsicans, for whom he had never done anything, had welcomed him so enthusiastically, would this be less the case in Naples, which he had showered with benefits as king? And should he abandon the hundreds who had now joined him to the revenge of the French government? And if his enterprise failed, what could happen to him? That his person should be secured and that he should be kept in some remote place like his brother-in-law! - When his faithful congratulated him on the unexpected salvation opened up to him by the offer of Emperor Franz, he exclaimed: "Of course, I will go to Austria, so that one morning I may be found strangled in the bosom of my family! I would rather go to Constantinople! But no, even there I would be killed!" Nevertheless, he wrote a letter to Maceroni in which he did not necessarily reject the proposal of the allied powers, but reserving the right to consider it as soon as he would be with his family. He explained that he had to decline Bastard's invitation because it had been made in an improper manner: "une sommation trop peu mesurée"; no doubt the captain had addressed him simply as "Marshal Murat".

Carabelli also arrived in Ajaccio that day and had a conversation with the ex-king, without achieving anything other than encouraging the ill-fated man in his intentions.

Helfert comments on the arrival of the Neapolitan Carabelli in a footnote with reference to two other reports:

Franceschetti p. 39-41 and Colletta-Gallois p. 30 f. present the matter as if the Neapolitan government had sent Ignazio Carabelli, who is supposed to have joined his brother Simone after his arrival in Corsica, in order to play the agent provocateur with Murat and lure him to Naples. This is not only contradicted by Ricciardi's explicit testimony, but also by the entire situation and mood at the Court of Naples, where Murat's ventures were feared, not desired. It is downright nonsensical when Colletta-Gallois add the remark: "Ainsi on était informé à Naples de tout ce qui se passait en Corse". Was there an undersea telegraph at that time? Lambruschini, who certainly hurried to bring his well-meant warnings to the ex-king, needed seven days from Rome to Bastia, 6 to 12 October, and Ignaz Carabelli was certainly not sent by Minister Medici before mid-September, probably only after the 18th, when Jablonovski had his conversation with the king. Now Carabelli, who no doubt had a government ship at his disposal, may have managed his passage to Bastia more quickly than Lambruschini; but from Bastia he still had the arduous land route or the circumnavigation of Cape Bianco in the north or Cape Bonifazio in the south - Maceroni had taken a full three days from Bastia to Ajaccio!  - so that he certainly did not meet Murat before the 28th, which is also consistent with explicit witness statements. And then one should have been informed in Naples "de tout ce qui se passait en Corse"!

The text continues:

Before midnight Murat wrote a second long letter to Maceroni, in which there was no longer any question of yielding: "I will never accept the conditions which you have been instructed to impose on me; for me they are nakedly and simply tantamount to an abdication, for which I am offered the sole advantage of being allowed to live in perpetual slavery and under the arbitrary control of a despotic government. I have not abdicated, I have the right to reclaim my crown if God gives me the strength and the means to do so! I place freedom above all else; captivity is death to me. What treatment have I to expect from these powers who made me spend two months under the daggers of the assassins of Marseilles! I have laid down my life a thousand times in battle for the fatherland: shall I not be allowed to lay it down once for my own interest?"

Immediately afterwards, he went to the ships, the anchors were lifted and they set out into the open sea. The citadel of Ajaccio, whose crew had not dared to take any action against the Muratists, sent a few live rounds after the flotilla, which, however, did no damage because the flotilla was already out of range. The sky was clear, the sea calm. But on the 29th a storm came up and the small squadron had to drop anchor on the 30th at the deserted island of Tavolara, on the north-east coast of Sardinia. On 1 October, they set sail again and on the 4th were so close to the coast of Naples that they could see Vesuvius. The ex-king's mad plan of taking Ferdinand by surprise in Portici now flashed through his mind again, but he let himself be talked out of it and they steered south towards Calabria. On the 6th Paola was in sight. Efforts were made to anchor: a storm arose and four of the ships were driven far out to sea, only the felucca of Battalion Commander Courrand remained near the vessel carrying the "King". On the 7th they waited for the others to return; when they did not show themselves, a landing was nevertheless to be attempted. A muleteer and one of Joachim's old guard came along the way and Major Ottaviani was disembarked to question them. Their answers did not inspire confidence; they also attracted the attention of the beach guard, from whom two blind shots were fired, demanding obedience. Ottaviani was again put ashore, then two sailors and Baron Barbara, who identified themselves to the local authorities as "Frenchmen on a journey to Tunis"; for Barbara had provided himself with passports to that effect in Corsica. Nevertheless, the officials became suspicious and detained Ottaviani and one of the sailors; only the other sailor and Barbara were released. Murat did not want to abandon his men, but in the end he followed prudent considerations and set sail for Amantea and then even further south.

Courrand's behaviour now became so suspicious that Captain Pernice and Lieutenant Moltedo, who were on his ship, insisted on being transferred to Barbara's barque; indeed, Courrand disappeared with his vessel the following night and was never seen again. Murat had only one ship left, and now for the first time pusillanimity came over him. He had only a handful of men with him; he saw that his enterprise would be foolhardy. He ordered Galvani to throw the copies of the manifesto and the decree into the sea and decided to sail to Trieste in order to make use of the offer of the Emperor of Austria and of his passport, which he had prudently kept with him. But for this they needed money, food and above all a larger ship. They were near Pizzo and Murat wanted to disembark here in order to procure what they needed. Barbara objected to this plan, an exchange of words ensued, Murat became passionate, and all his good intentions were blown out of the water. The ideas of the more superior, and the entreaties of his faithful valet not to run to his ruin, did not succeed: he, the "king," commanded, and the others had to obey. "I have only done good to the Neapolitans," he cried, "they cannot have forgotten me, they will hasten to my aid!"

The barge struck the shore, the officers were eager to jump out of the ship, but Murat refused them: "It is for me to be the first to set foot on the soil of my kingdom." And with that he was ashore. He had enough deliberation left to order Captain Barbara to lead his ship into a sheltered bay close by to be ready for any eventuality. It was on the 8th of October, a Sunday, between 11 and 12 o'clock in the morning.

#joachim murat #colonel maceroni #naples #naples 1815 #helfert murat

[hlupdate]

The relationship between A-list muse and lauded designer is nothing new. But few have been as serendipitous that of Harry Styles and Alessandro Michele: the pop star’s solo career coincided neatly with the designer hitting his stride as the game-changing creative director of Gucci. Theirs is a mutually beneficial partnership that has elevated the former to new echelons of style, while the latter has become something of an icon to an unexpected fandom.

Unlike the large-scale productions of recent show seasons, Michele first presented his vision for Gucci with a quietly confident collection on 19 January 2015 — reportedly pulled together in just five turbo-charged days. The collection had all the signifiers of the retro-inspired aesthetic that has since become Michele’s beat, introducing the fur-lined loafers, pussy-bow blouses and florals that still form the backbone of his work today. A 20-year-old Harry, meanwhile, was still a long-haired One Direction member set to embark on the band’s biggest ever — and as it turned out last— tour. Just as One Direction’s days were winding down, Michele was picking up speed. Gucci reported a five per cent rise in sales in the last three months of 2015, amounting to 1.1 billion Euro in the final quarter.

Stylist Harry Lambert, who had been working with Harry for a few years by then, decided it was time for the boy-bander to try something new. A floral suit – that floral suit – from Michele’s spring/summer 2016 collection would be just the ’fit for the American Music Awards in November 2015, they decided.

Looking back it was a “very bold move,” Lambert admits. Styles was the first to take one of Michele’s full menswear looks from the Gucci catwalk and wear it on the red carpet. “It was very exciting to see everyone’s responses, but also how great he looked in it,’’ Lambert told Miss Vogueof what he still views as a turning point in his client’s fashion journey. This winning suit encouraged Styles and Lambert to pull more Gucci, and Harry gave his final performance as a member of One Direction wearing a suit in the retro petal print that defined Michele’s early collections.

In fact, Gucci was just about the only thing that the 1D alum carried over to his solo career. Even his shoulder-length curls were shorn. The music videos that accompanied Styles’s eponymous number one album, released in April 2017, all incorporated Gucci, as did his appearances on the promo trail. A navy tailored coat floats through the sky in the video for “Sign Of The Times”, and he wears floral tailoring in the clip for “Kiwi”. When the time came for Harry to take his record on the road, he wore countless bespoke Gucci suits on stage. Most were floral brocade with flared trousers, and paired with pussy-bow shirting.

By June 2018, the relationship had been formalised. Styles was revealed – in a series of photos taken by Glen Luchford in the suitably English setting of a chip shop – as the face of Gucci’s tailoring campaign. Two more campaigns followed, in which Styles models the most exuberant of Michele’s creations without ever sacrificing his schoolboy cheekiness, not even with a lamb slung around his shoulders. The campaigns, two by Luchford, a third by Harmony Karine, helped to usher in a new dawn in menswear advertising.

A year later Harry was unveiled as part of a diverse line-up in the campaign for Gucci’s Mèmoire D’une Odeur — the near century-old house’s first gender-neutral scent. Yes, he was the main event, but Styles shared the spotlight with other creatives in what became an unavoidable campaign, covering buildings, beauty counters, column inches and iPhone wallpapers across the globe. Styles has since quipped that he wears it to bed,making a bottle a necessary purchase for even half-dedicated Harry fans.

That Harry’s work with Gucci has proved so popular with his dedicated fanbase is a key component in the success of their collaborations. Though — and again, this is likely owing to Harry’s own allegiances — his followers do tend to have a keen interest in fashion compared to other fandoms, it’s down to their idol that Harries know the artistic director by his first name alone. “It is really exciting for us fans to see another facet of Harry as a creative individual, and his Gucci partnership cultivates that and gives us an even more in-depth perspective of who he is,” Nadhila, a 26-year-old fan in Indonesia told Miss Vogue.

Nadhila, who has been a part of the team behind the Twitter account @HSNewsUpdate since 2011, believes that the fluid nature of Michele’s vision has contributed to the interest in Harry’s Gucci looks. “There are no boundaries on what he might come up with, so fans are always excited to see what look [Harry] might step out in next,” she says. Styles’s efforts to be a fan-focused, ethical pop star – his motto is “treat people with kindness” – are relevant, too. “He has inspired us to be bold, unique and unafraid to experiment when it comes to fashion,” she adds. “He has shown us that there is no such thing as too feminine or too masculine, we can be both and we can be ourselves.”

Another of Harry’s biggest fan accounts, @TheHarryNews, is run by four women in their mid-twenties: Annie, Océane, Lena and Rachel. “You can really see the confidence he’s gotten from working with Gucci,” they share collectively over email. “[He’s] taking more risks and letting more of himself show… In a lot of ways we’ve seen Harry really come into his own. I think that really resonates with people, especially his fans, who get tiny pieces of [who he really is] through fashion.”

Two fans who have an almost encyclopedic knowledge of this fashion partnership are the transatlantic duo behind @HSFashionArchive. Since April 2016, London-based Lu and Washington DC-based Alex have documented every look worn by Harry in meticulous detail, all to act as “a resource for fans”. Its posts lets his followers know how they might go about procuring these items, but also sheds light on key house codes – thus enabling fans to quickly identify which of Harry’s looks are Gucci, and which aren’t. “We have noticed that fans buy the Gucci pieces that Harry has worn,” 29-year-old Alex explained. “Though some pieces are pricey, we’ve seen people buy the loafers, boots, and bags that Harry has sported over the years. Lots of our followers bought the £34 Gucci lipsticks he wore in Beauty Papers.”

The pair believes that the relationship works because Gucci is able to offer Harry such a broad spectrum of looks to choose from. “Gucci’s looks range from wearable to outrageous, so Harry’s continued partnership with Gucci guarantees both attainable style and flashy moments. There’s nothing like seeing him in a wild new outfit that we couldn’t have anticipated.” And though one might assume the scene-stealing suits are most popular with fans, according to Nadhila, they like his low-key looks best, given that “they show a more casual and intimate look into who he is as a ‘normal’ person”.

Of course, there is a notable exception: the 2019 Met Gala. For the opening evening of the “Camp: Notes On Fashion” exhibition Michele and Harry acted as co-hosts, and arrived on the pink carpet together. “After such a colourful tour wardrobe it was nice to do something a little unexpected,” Lambert told Miss Vogue of the black blouse Styles wore. “[It was about] taking traditionally feminine elements like the frills, heeled boots, sheer fabric and the pearl earring, but then rephrasing them as masculine pieces set against the high-waisted tailored trousers and his tattoos. Camp, but still Harry.” Lambert explained at the time: “We met up earlier this year to share mood boards with the Gucci team. We had pages of printed references all on the table from Alessandro, myself and Harry, then we edited them down.” Today, the @HSFashionArchive duo agree the night “was a massive deal amongst fans”.

There was the now pearl earring-wearing fashion darling of the music world, standing alongside the closest thing to a rockstar the fashion industry has at present. “I love dressing up and he loves dressing up,” Michele told The Face in 2019. “The moment I met him, I immediately understood there was something strong around him. I realised he was much more than a young singer. He was a young man, dressed in a thoughtful way, with uncombed hair and a beautiful voice. I thought he gathered within himself the feminine and the masculine.”

Since the Met, the relationship has continued to go from strength to strength. Styles wore a custom look on the cover of his second record, Fine Line, shot by Tim Walker, and Michele and Styles collaborated on a T-shirt to coincide with it, with a percentage of the sales going to the Global Fund For Women. Gucci’s high-waisted trousers, cropped blazers and dazzling shirting now takes up even more space in Styles’s wardrobe, and bring as much attention to the star as his sophomore record’s commercial and critical success.

Sightings of Styles in Gucci have become a source of comfort for fans in a turbulent 2020. From his Mary-Janes at the Brits to his oversized turquoise blazer and crochet gloves in the “Golden” video, by way of outré sunglasses and floral sunglasses in the clip for “Watermelon Sugar”, Harry’s recent sartorial choices have managed to be pleasingly familiar, while simultaneously keeping his followers on their toes.

A bit like the chicken and the egg conundrum, the question remains: is Harry very Gucci, or is Gucci very Harry? The verdict is out. But without each other, both might be missing a little something.

#harry styles #articles #111120

[yumeka36]

The Frozen 2 prequel novel, “Dangerous Secrets: The Story of Iduna and Agnarr,” is scheduled to release on November 3rd. A preview excerpt was just released via this article from Insider.com. I pasted it below, with my thoughts following:

---

THE STORM IS GETTING WORSE.

Lightning slashes across an angry black sky, soon followed by the crash of thunder. Waves pound against the ship's hull as I grip the wooden rail with white knuckles. Fierce gusts of wind tug my hair free from its braid, and damp brown strands whip at my face. I don't dare let go to brush them away.

Instead, I keep my eyes on the sea. Looking for her.

In some ways, I've spent my entire life looking for her. And tonight, my journey may finally come to an end. Unfinished. Unfound.

Ahtohallan. Please! I need you!

Perhaps she never existed at all. Perhaps she was simply a myth. A silly song to lull children to sleep. To make them feel safe and secure in a world that's anything but. Perhaps I was a fool to think we could simply go and seek her out. Learn the mother's secrets.

I do know something about a mother's secrets.

Another wave sweeps in, bashing against the ship's hull, sending a spray of icy seawater splashing at my face. I stumble backward, momentarily blinded by the salt stinging my eyes. A strong pair of hands clamps down on my hips; a solid chest at my back keeps me upright.

I turn, already knowing whom I'll find standing tall behind me. The man who has been with me almost my entire life. The man who has made me laugh—and cry—more than anyone else in the world. My husband. The father of my daughters. My enemy. My friend.

My love.

Agnarr, king of Arendelle.

"Come, Iduna," he says, pulling me around to face him. He reaches out, clasping my hands in his. They are as warm and strong as mine are cold and trembling.

I look up, taking in the sharp line of his jaw. The fierceness in his leaf-green eyes. If he's frightened, he's not showing it. "We need to go below deck," he says, shouting to be heard over the furious wind. "Captain's orders. It's not safe up here. One rogue wave could knock you overboard."

I feel a sob rise to my throat. I want to lash out, protest the orders. I'm fine. I can take care of myself. I'm not some silly girl frightened by the elements.

But what I really want to say is, I can't leave. I haven't found her yet.

If I go below, I may never find her.

And if I don't . . .

Elsa. My sweet Elsa . . . My dear Anna . . .

Agnarr gives me a pointed look. I sigh, untangling my hands from his, and begin stumbling toward the stairs that lead to our cabin below, on legs unaccustomed to rough seas. I'm almost there when the ship suddenly pitches hard to the left and I lose my footing, grabbing on to the railing to save myself. I can feel a few of the crew watching me with concern, but I push forward, keeping my head held high. I am a queen, after all. There are certain expectations.

Once below, I push open our cabin door and move inside, letting it bang shut behind me. The captain has given us his cabin for the journey, which I insisted wasn't necessary, but I was overruled. It's the only cabin suited for a fine lady, he protested. Because that's how he sees me.

That's how they all see me now. A fine lady. A perfectly poised Arendellian queen.

But now, at last, Agnarr knows the truth.

I ease myself down on the bed, reaching to grab my knitting needles and my half-finished project. An inappropriate task under the circumstances, but perhaps the only thing that might steady my hands—my pounding heart. I can hear Agnarr push open the door, his strong, solid presence filling the room. But I don't look up. Instead, I start to knit as the ship rocks beneath my

feet. It's dark down below, too dark to really see the delicate yarn, but my hands are sure and true, the repetitive motions as natural and familiar to me as taking in air. Yelana would be proud.

Yelana. Is she still out there, in the Enchanted Forest, still locked in the mist?

Only Ahtohallan knows.

Suddenly, I want to throw my needles across the room. Or collapse on the bed in tears. But I do neither, keeping my attention on the unfinished shawl. Forcing myself to let each stitch lull me into something resembling comfort.

Agnarr pulls out a wooden stool from the captain's desk, sitting down across from me. He picks up a corner of the unfinished shawl, running his large fingers across the tiny stitches. I dare to sneak a peek at him, realizing his eyes have become soft and faraway.

"This is the same pattern," he says slowly. And I know what he means without asking. Because of course it is. I hadn't even realized it when I started, but of course it is.

The same pattern as the shawl my mother knitted me when I was a baby.

The shawl that saved his life.

"It's an old Northuldra pattern," I explain, surprised how easily the words leave my mouth now that the truth is known. "Belonging to my family." I pick up his hand and place it on each symbol in turn. "Earth, fire, water, wind." I pause on the wind symbol, thinking back to

Gale. "It was the Wind Spirit who helped me save your life that day in the forest."

He gives a low whistle. "A wind spirit! If only I'd known," he says, reaching up to brush his thumb gently across my cheek. Even after all these years, his touch still sparks a longing ache deep inside, and it's an imperative, not an option, to drop my needles to return the gesture. To run my fingers against the light stubble of his jaw. "It would have made my stories to the girls so much more interesting."

I smile at this. I can't help it. He has always found a way to help me find sunshine amidst the gloomiest of days. It's strange, though, to realize he knows everything now. After a lifetime overshadowed with secrets, it should feel freeing.

But in truth, it still scares me a little, and I find myself glancing at him when he doesn't know I'm looking. Trying to see, trying to know whether the truth has changed his feelings toward me. Does he resent me for keeping so much from him for so long? Or does he truly understand why I did it? If we survive this night, how will things change between us? Will the truth bring us closer together? Or tear us apart?

Only Ahtohallan knows. . . .

I reach out and take Agnarr's hands in mine, meeting his deep green eyes with my blue ones. I swallow down the lump in my throat that threatens to choke me, and force another smile.

"I will never forget that day," I start with a whisper, not sure he can even hear me over the tempest outside. "That horrible, wonderful day."

"Tell me," he whispers back, leaning in close. I can feel his breath on my lips. Our faces are inches away. "Tell me everything."

I swallow all the words that threaten to jump out of my throat in a hurried rush, throwing myself back on the bed, staring up at the wooden-beamed ceiling. After I breathe calmly, I say, "That might take all night."

He crawls onto the bed, lying down next to me. He reaches out and curls his hand into mine. "For you, I've got forever."

I swallow hard, tears welling in my eyes. I want to protest: we don't have forever. Or even all night. We may not have an hour, judging from the way the wooden beams of the ship are creaking and cracking. But at the same time, it doesn't matter. It's time. It's long past time. He deserves to know everything.

I swipe the tears away, rolling to my side and propping my head up with my elbow. "You have to tell your part, too," I say. "This story isn't only mine, you know."

His arm curls around my waist, his hand settling at the small of my back as he tugs me closer to him. He's so warm. How is it possible that he's still so warm? "I think I can manage that," he says with a small smile. "But you must start. It all began with you, after all."

"All right," I say, resting my head on his chest, his steady heartbeat against my ear. I close my eyes, trying to decide where to begin. So much has happened over the years. But there is that one day. One fateful day that changed the course of both our lives forever.

I open my eyes. "It all starts with the wind," I say. "My dear friend Gale."

As I speak, the words begin to course through me like the forbidding waters roiling outside. And like the waters, I will finally make myself heard.

Agnarr will listen.

He's always been the storyteller in our family. But not this time. Now it's my turn to tell the tale.

---

What stood out to me:

- It seems like Iduna revealed her past to Agnarr around the time they set sail for Ahtohallan, not the night of the accident with Elsa’s magic as Jennifer Lee, and I believe other sources, have implied. Of course, with “spin-off” content like this where the original creators aren’t involved, there’s bound to be inconsistencies. But Jen never stated that the time of Iduna’s reveal was definitely the night of the accident, only that she believes it’s that night though it could have been another night (I think this was part of the podcast interview she did several months ago). So yeah, the exact night it happened isn’t terribly relevant.

- This excerpt also reveals that Iduna revealed some of the truth to Agnarr early on, but then reveals everything in detail during their last moments before the ship goes down. So maybe she did reveal some of it the night of the accident but not all? We’ll see.

- Iduna knew Yelena. That makes sense considering Yelena’s age and the importance she seems to have in the Northuldra tribe.

- Iduna uses feminine pronouns for Ahtohallan, reinforcing the theory in my Frozen 2 book that Ahtohallan was viewed as a goddess of sorts in Northuldra culture

- Iduna also calls the wind spirit “Gale.” Obviously we all thought that was the name Olaf gave her but apparently Iduna did as well. Coincidence?

- The book is written in first-person perspective from Iduna’s point of view, unlike the previous adult-aimed Frozen books “A Frozen Heart” and “Forest of Shadows” which are written in second/third-person.

- Iduna was in the process of knitting another scarf while on the ship. I wonder why.

- The cover art for the book changed slightly from the original version, with the main image in the center being of Iduna and Agnarr when they’re younger instead of when they’re king and queen.

- I’m curious as to what kind of order the book will present the events of the timeline. Obviously this excerpt is from the end of Iduna and Agnarr’s lives, so will it start here and show everything else via flashbacks? Seems weird they’d choose the end of the book for this preview so my guess is that things will be revealed out of order.

#frozen 2 #frozen #disney frozen #frozen2 #queen iduna #agnarr

[sadoeuphemist]

Kids are just amazing. Think about it, they come into the world knowing absolutely nothing, and everyday they’re looking wide-eyed at the world, so curious about even the slightest detail of it. Why, just the other day, my little Lilah came up to me and said: “Daddy, why is the sky blue?”

Well of course I knew the answer right off the bat. “You remember how rainbows work?” I asked her, lifting her up on my knee. She nodded. I’d taught her about rainbows and prisms, with a hands-on demonstration, just a couple of months before. I gave her the whole spiel about light breaking up in the atmosphere, about how red light traveled further but blue scattered wider, and so that was why the sky was painted blue in the middle of the day but red at sunset, when the sun was far away enough that all the blues got scattered behind and only the reds traveled far enough to reach us. “You got all that?” I said. “Don’t be afraid to ask questions if you don’t understand.”

She got that little pouty frown on her face that told me she was processing it, and then she said “uh-huh” again dubiously, and then asked, “Why isn’t the sun blue?”

That caught me off guard. “What?”

“When the sun -” She waved her arm in a clumsy arc that didn’t really demonstrate everything. “When the sun’s—there, it’s all red, cuz the sun’s far away, and the - the red light goes really really far, so when the blue’s all spilled everywhere, why isn’t the sun blue, too?”

I set her down off my lap. This was an unexpected wrinkle. It’s funny how you can just know something nearly all your life, and never have questions like that occur to you. Why wasn’t the sun blue? Still, I believe it doesn’t hurt kids to let them know that sometimes their parents have to look things up, so I took out my phone. “Let me just find out, and then daddy will have an answer for you,” I said.

As a first exploratory impulse, I googled ‘why isn’t the sun blue’. The first few hits were asking why the sun, if it was so incredibly hot, didn’t burn with a blue flame instead of a yellow one. I didn’t offhand know the answer to that one, either, but it wasn’t relevant to Lilah’s question so I quickly skipped over them. The Stanford website, which I skimmed over, didn’t tell me anything that I hadn’t already said, aside from the added factoid that the sun’s visible light peaked in the green part of the spectrum, so technically it was slightly greener than anything else.

That didn’t help me either.

Finally, it was the NASA website that gave the answer. “It’s because the light is straight from the sun,” I told her. “When you’re looking up at the sun, it’s still pure white, but all around it at the sides, that’s where the blue’s scattering off in all directions.” The NASA website had an awfully condescending graphic, I thought, with a cartoon sun shining white light straight down on a cartoon dog, and the blue light going off at an angle. The dog wasn’t even looking up. You’d think NASA, of all things, would be able to come up with something slicker. 

“But ... doesn’t all light come straight from the sun?” Lilah said, interrupting my train of thought.

“Well, no—” I surreptitiously checked the diagram with the cartoon dog again. “’Cause if you’re looking at the sun, that’s the light, straight from the sun, and everything else—”

“But...” Lilah screwed up her forehead in thought. “Cuz when it’s daytime, that’s when the—half the Earth is facing the sun ...”

“That’s right, and on the other half it’s night, because they’re not facing the sun,” I provided, reciting an old lesson.

“So isn’t all daytime light from the sun?”

I tried, in my head, to picture a lamp shining on half a globe. Yes, every illuminated part of the globe was lit directly by the light bulb, so if a tiny person on the surface of the globe was looking up, wouldn’t the entirety of the bright daytime sky be the sun’s light? But then again, the sun was definitely only in one specific spot in the sky, so that couldn’t possibly make sense either ... I was beginning to suspect that I didn’t actually know how light worked.

“No,” I said definitively, trusting in the cartoon sun and dog, who were clipart images staring blankly at random angles. The sun’s eyes moved between images, I  noticed, as I scrolled up and down. The dog’s didn’t. “That’s not how light works, sweetie. When you turn on a light in the room—” I pointed up. “Everything’s lit up, right? But you can only see the light—the light-light—when you’re looking straight at it.”

She considered that while I held my breath, and I only let myself breath again once I saw her nod, a series of ponderous calculations still going on inside that cute little head of hers. Kids, I’m telling you, they’re really something. She wandered off to consider it on her own for a while, and I was trying to think up a sequence of words to google that explained the difference between light directly from the sun, and light that presumably was also directly from the sun, but you weren’t looking straight at it (my first stab of ‘ambient vs direct light’ of course only brought up a bunch of hits about home decor and 3D modeling) when I felt Lilah tug on my shirt sleeve once again. “Daddy?” she said.

I looked up, forcing a grin. “Yes, sweetheart?”

“If it’s all a rainbow, and red’s the one that goes the farthest, then why’s blue the one that scatters around the most? Shouldn’t it be...” She paused to mouth the words “Roy G. Biv” to herself. “Violet?”

I opened my mouth, and then looked down at my phone and quickly typed in ‘why isn’t the sky violet’. 

“Hrmm....”

“Daddy?”

“Okay,” I said slowly, still keeping one eye on the article. “It turns out that the sky actually is violet, but because of the way our eyes work ...” I quickly glanced up at Lilah. She was still with me, listening placidly as if I hadn’t just contradicted my previous explanations, completely willing to listen to her dear old dad explain the world to her.

“We have—we have cells in our eyes,” I began, “that are how we see color—they’re called cones—and there are three kinds. One is sensitive to—One sees red things, one sees green things, and one sees blue things. And so the—” I squinted at my screen. “Blue light makes the blue cones light up, right? But, it also, uh, tickles the green and red cones, just a little bit. So if when we looked up into the sky it was really all blue light, then to us it would look ... uh, slightly .... slightly greenish. Blue-greenish. Because the green cones are also getting tickled, so it would look kind of green!”

I ran one hand over my head, reading out the penultimate paragraph. “But because the sky is actually violet, that means our blue cones can’t see it all that well. But our red cones can kinda see violet, so if it ... if it was violet we’d actually see it as reddish ...” I trailed off.  “But since the sky is actually part blue and part violet,” I finished up, all in a rush, “the red and green cancel each other out, and all we end up seeing is blue!”

I made a sort of ‘ta-da!’ pose, a smile frozen on my face, and miraculously Lilah was nodding along as if my botched rendition of the science had made perfect sense. Maybe ... it did? Maybe according to the free-floating haphazard logic of a child who has no idea how the world works and has no choice other than to accept all explanations given, it was completely sensible that red and green should cancel each other out just like lights on a traffic signal, and that blue-plus-violet should equal blue, just as a fundamental property of math. I was almost congratulating myself on having provided a successful answer, when Lilah once again spoke up.

“So if the blue sky is really violet,” she said thoughtfully, fixing her big brown eyes on me, “at the end of the rainbow, what’s violet, then?”

I’ve done a lot of research since then, squinting at my tiny screen, and some of the information I’ve pieced together includes: that some of the colors displayed on my phone don’t actually exist, since different combinations of wavelengths of light stimulate different combinations of cones and make you hallucinate colors in your head; that violet is actually just dark blue and not purplish at all; and that yellow is just red and green light without any blue—but as to what they actually mean when they say “yellow” and “red” and “green” and “blue”—that part, I’m still trying to figure out.

It took me a while to even get this far. Lilah’s long since forgotten about the question and is now absorbed with watching Minecraft let’s plays on YouTube. They’re just incredible, kids. They’re born into this world, not understanding a damn thing about it, just having to trust what people tell them, and somehow they grow up into fully-formed individuals. I’m her dad, and I’m hardly responsible for a fraction of that. What else is it but a miracle?

And if anyone ever figures out what violet is, let me know.

#fiction

[asphyxiatedredherring]

Life is constantly putting up new obstacles for you to tackle, so how can you honor our Earth every day?

I'm here to help with that by sharing a list of 15 ways to honor Earth and be closer to nature whether you be in quarantine, an urban area, winter, or whatever situation you may find yourself in.

❁ Summer Jar ❁

I'm going to start off this list with a personal tradition, a summer jar or flower jar. What I do is I collect flowers (mostly just petals) and dry them right before summer starts transitioning out into autumn. I put all of these now dried petals and flowers into a small jar (with a lid). Now you are left with a jar full of color and life to get you through the winter. When spring comes around and flowers are blooming once again I spread them in my yard and leave the jar open until the end of summer.

❁ Your Alter ❁

An alter is a great way to honor the Earth. You can have something to symbolize each element, flowers you've collected, crystals, and so much more. I like to keep something that symbolizes the area I'm from, for me it's a fossil my dad found at his work. So much of witchcraft and paganism is nature based so adding in extra Earth elements isn't hard, Google for more Earthy alter ideas!

❁ Nature Walks ❁

Not everyone lives in an area around the woods or forest but that doesn't mean you can't take nature walks. If you live in an urban area go to a park, it's still nature even if it is outlined in tall office buildings. Even walking down the street notice dandelions in cracks of the sidewalk or birds hopping by, make sure the thank the Earth for making room for you to live. While in a social distancing situation that has sprung up these past few months you can still take a nature walk as long as you are not too close to people. Don't forget that just because you are socially distancing doesn't mean you can't be friendly, wave to neighbors as you pass just don't get too close. If you have access to a car go on a drive down the back rounds, it's a family favorite at my house.

❁ Meditation ❁

Meditating is something everyone can do! Grounding exercises are great, you can envision roots extending from your body into the Earth below you. I personally like to envision myself walking through the woods or in a creek when I need to clear my mind.

❁ Gardening ❁

A garden one of the best ways to connect with nature. There is so much symbolism you can put in your garden too, like specific flowers or color schemes for deities. You can grow herbs for your craft and cooking, fruits, veggies, or even just flowers. Gardens don't have to be very big, you could even go to a community garden. Gardening can also bring you closer to family if you fo it together or it can be a way to get some alone time. Gardening can also be a way to give back to Earth and the people around you, I'm sure your neighbors would love to be gifted from fresh produce!

❁ House Plants ❁

If you can't have a garden house plants are a great alternative. Plus, they won't be affected by weather outside. Some plants like spider plants are really good air purifiers, other plants like aloe have magick and medical uses. If you are worried about pets like your super cute cat you can try and find places the animal doesn't go like a bathroom. Don't forget to make sure a plant isn't toxic to pets before you buy it, just in case. House plants are a wonderful way to bring a little bit of Earth inside with you. Bonus points if you name your plants or talk to them.

❁ Crafts ❁

Making crafts with natural materials is so much fun! Going out to collect the supplies is half the fun. Crafting can be done so many different ways and in so many different mediums. Whether you like photography, drawing, painting, pottery, wood carving, metal working, or what ever else may float your goat the element of Earth can easily be added in. The internet if filled with countless crafts you can try to honor Earth if you want guidance or have artist block!

❁ Decor ❁

Decorating your room (or other space) with the earth element even works if you are broom closeted! You can spruce up your life and be more spiritual. You can decorate your place with earthy crafts, environmentally friendly products, crystals, a plant, a wooden sign, framed pictures, etc. Anything with those #EarthVibes!

❁ Clothes and Beauty ❁

What better way to honor Earth than use cruelty free products. You can check labels to see if your beauty and other self care products are not tested on animals, vegan, organic, contain micro plastics, and other things harmful to the environment. As for clothing I find it great to go to thrift stores for "new clothes" as well as donating my old clothes that either don't fit or I don't wear anymore. It can be great to support local stores rather than big name brands like American Eagle and it is way less expensive. Your clothes, jewelry, and makeup can even have an Earth theme to them. Brown and green tones are super earthy along with some rusty oranges. It doesn't need to be floral to be earthy!

❁ Food ❁

I am personally not a vegetarian or vegan but I am conscious of what I eat. I grow some of my own vegetables and I have a strawberry patch (witch is great for making jam). I try to eat organic or locally sources foods. If you live in a rural area try to get to know your local farmers. When you take food from the Earth you should always give back.

❁ Feathered Friends ❁

A family fun activity to get to know your Earth better is to go out and try to find some bird nests. Never get too close or disturb the nests or birds in any way, keep a respectful distance. It can be fun to keep an eye out and watch as the little babies grow. You could even go the extra mile and build (or buy if you aren't crafty) a bird box.

❁ Open the Windows ❁

Opening the windows is always wonderful. Houses and apartments can get stuffy so why not let Mother Nature give you fresh air. Opening windows gives opportunity to look and listen to the sounds of the Earth. Nothing is better than a breeze blowing through an open window.

❁ Cleanse Thyself ❁

I don't mean to break out the sage, I'm talking about a good old bath. Cleansing baths are great, you can add herbs, oils, scents, have candles, meditate, the whole shebang. But, if you are like me you only have a stand up shower then you can still have a good cleansing. Just envision all of the negative energies flowing down the drain. You can also save water (and money for new witchy supplies) by turning the water off while washing your hair, etc.

❁ Get Educated ❁

Learning about the natural history and features of your area can be really important. I love to study the geology of the mountains I'm from. You can learn about native flora and fauna and even what to do about invasive species. Education is a powerful weapon and and a tool of creation. The best way to get an understanding of the earth element is to learn about it. You can watch documentaries, read books, (credible) online articles, you can even talk to local people about the world around you. Part of learning about the earth could even be researching relevant deities.

❁ The 3 R's❁

Reduce, reuse, recycle: words we hear all the time but probably don't put enough thought into. Part of taking care of the earth is to keep it clean and not use to many of it's resources. This is such a broad category, you can reuse old containers to keep your witchy supplies in, cut back on the use of plastic and one use items, and recycle your trash so it can be made into new items. You can check out your local recycling place it there isn't a truck that picks it up on your street. There are so many ways to reduce your carbon footprint and reuse old products that seem usless. Check out upcycling, there are tons of trendy things you can do!

This is a repost of a post I made on the Pagan & Witch Amino a while ago

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