#the colours and songs don't necessarily have a specific meaning

[the-travelling-witch]

⇢ ˗ˏˋ Happy New Year ﾟ☾. ࿐

Another colourful year is coming to an end and what an interesting one it’s been. Of course, it hasn’t been without struggles and hardships but no year is; on the flip-side some pretty awesome things happened like me finally going on vacation in South Korea after two years of pandemic throwing a wrench in my plan. But, personally, the most impactful thing happened at the start of the year on a whim: the creation of this blog!

As a mixture of New Year’s resolution and spontaneity, sharing my work actually gave me something to look forward to and was a great creative outlet to get away from life for a few hours. Not to mention, all the lovely people I had the honour of meeting solely because of being here; it’s not an understatement to say my year would’ve been a lot more lonely and definitely less fun without some of you; my 2022 wouldn’t have been the same without you

𝐕𝐈𝐏 𝐬𝐩𝐨𝐭𝐥𝐢𝐠𝐡𝐭!

˗ˏˋ– maple red x @dustofthedailylife

𝐜𝐮𝐫𝐫𝐞𝐧𝐭𝐥𝐲 𝐩𝐥𝐚𝐲𝐢𝐧𝐠: 𝐠𝐫𝐨𝐰 𝐚𝐬 𝐰𝐞 𝐠𝐨- 𝐛𝐞𝐧 𝐩𝐥𝐚𝐭𝐭 !

Dust… I don’t even know where to begin, to me it does feel like we went on this tumblr journey together; I still remember how nervous I was reaching out to you but let me tell you, I’m so glad I did. You were one of my first moots, my first genshin moot actually, and really did make the beginning of this blog feel more like home. You’ve helped me a lot with a variety of things and I’m very grateful for that; I really do consider you a friend and I hope we can keep this up for 2023 ♡

˗ˏˋ– ruby red x @chuuyas-beloved

𝐜𝐮𝐫𝐫𝐞𝐧𝐭𝐥𝐲 𝐩𝐥𝐚𝐲𝐢𝐧𝐠: 𝟏𝟎 𝐲𝐞𝐚𝐫𝐬- 𝐝𝐚ð𝐢 𝐟𝐫𝐞𝐲𝐫 !

Trin, wow wow wow, big changes happened this year, right? Congrats again, I’m so happy for you!! You’re always putting others before yourself without hesitation but please take care of yourself too ♡

˗ˏˋ– pumpkin orange x @virtue-and-beneviolence

𝐜𝐮𝐫𝐫𝐞𝐧𝐭𝐥𝐲 𝐩𝐥𝐚𝐲𝐢𝐧𝐠: 𝐬𝐭𝐚𝐲 𝐟𝐫𝐨𝐬𝐭𝐲 𝐫𝐨𝐲𝐚𝐥 𝐦𝐢𝐥𝐤 𝐭𝐞𝐚- 𝐟𝐚𝐥𝐥 𝐨𝐮𝐭 𝐛𝐨𝐲 !

Vi, my favourite menace to society, I said I love your chaotic energy and I stand by that. We really are strangers to online acquaintances to talking regularly outside of tumblr, love that for us. I really really hope we can continue talking lots in 2023 so I can keep pestering you, you really got my hopes up in saying we might actually meet ♡

˗ˏˋ– marigold yellow x @kreideprinzessin

𝐜𝐮𝐫𝐫𝐞𝐧𝐭𝐥𝐲 𝐩𝐥𝐚𝐲𝐢𝐧𝐠: 𝐢 𝐛𝐞𝐥𝐢𝐞𝐯𝐞- 𝐤𝐚𝐦𝐫𝐚𝐝 !

Fern, thank you so for introducing me to so many cool people, you included; you did an incredible job creating a comfortable and peaceful place for us to interact and I’m so grateful for it ♡

˗ˏˋ– golden amber x @zhongrin

𝐜𝐮𝐫𝐫𝐞𝐧𝐭𝐥𝐲 𝐩𝐥𝐚𝐲𝐢𝐧𝐠: …雙魚玉佩 -𝐢𝐜𝐞 𝐩𝐚𝐩𝐞𝐫 ! / 𝐬𝐩𝐞𝐞𝐜𝐡𝐥𝐞𝐬𝐬- 𝐝𝐚𝐧 +𝐬𝐡𝐚𝐲 !

Mei, I genuinely love seeing you on my dash and get super excited seeing you in my notifs, whether you’re chomping down on Zhongli or sitting down to watch your favourite drama show, aka Childe and my daily life. You’ve been so supportive throughout all of this, my heart is fluttering just thinking about it ♡

˗ˏˋ– sunshine yellow x @mari-on-dragonspine

𝐜𝐮𝐫𝐫𝐞𝐧𝐭𝐥𝐲 𝐩𝐥𝐚𝐲𝐢𝐧𝐠: 𝐬𝐮𝐧𝐤𝐢𝐬𝐬𝐞𝐝- 𝐤𝐡𝐚𝐢 𝐝𝐫𝐞𝐚𝐦𝐬 !

Mari, our local husband catcher, you are such a bright person and I love you for it. You’re joyful, warm and always have my back, which is a really reassuring thing to know ♡

˗ˏˋ– pistachio green x @teyvattales

𝐜𝐮𝐫𝐫𝐞𝐧𝐭𝐥𝐲 𝐩𝐥𝐚𝐲𝐢𝐧𝐠: 𝐟𝐚𝐯𝐨𝐫𝐢𝐭𝐞 𝐭-𝐬𝐡𝐢𝐫𝐭- 𝐣𝐚𝐤𝐞 𝐬𝐜𝐨𝐭𝐭 !

Rebby, you’re genuinely one of the kindest people I’ve ever met. I love how excitable and high-spirited you are, whether it’s about a fandom or a personal matter; having someone so cheerful around really does make you see the bright side of things ♡

˗ˏˋ– jade green x @silentmoths

𝐜𝐮𝐫𝐫𝐞𝐧𝐭𝐥𝐲 𝐩𝐥𝐚𝐲𝐢𝐧𝐠: 𝐬𝐨𝐦𝐞𝐨𝐧𝐞 𝐭𝐨 𝐲𝐨𝐮- 𝐛𝐚𝐧𝐧𝐞𝐫𝐬 !

Moth, my cute nocturnal butterfly, did I already say you’re adorable? Because you are; seeing a little moth flutter across my dash does always bring a smile to my face; I’m making a roast beef sandwich right now to bribe you into coming over more often heh ♡

˗ˏˋ– periwinkle blue x @kazooms

𝐜𝐮𝐫𝐫𝐞𝐧𝐭𝐥𝐲 𝐩𝐥𝐚𝐲𝐢𝐧𝐠: 𝐝𝐞𝐚𝐫 𝐦𝐚𝐫𝐢𝐚, 𝐜𝐨𝐮𝐧𝐭 𝐦𝐞 𝐢𝐧- 𝐚𝐥𝐥 𝐭𝐢𝐦𝐞 𝐥𝐨𝐰 !

Chi, our love language really is sending each other funny videos, isn’t it? Our fyp is linked up already anyway, across more than one social media platform apparently; but even if we’re talking outside of that, whether it’s all fun or serious, I think we understand each other pretty well and I’d say that’s pretty neat ♡

˗ˏˋ– starry night blue x @scaranya

𝐜𝐮𝐫𝐫𝐞𝐧𝐭𝐥𝐲 𝐩𝐥𝐚𝐲𝐢𝐧𝐠: 𝐧𝐨𝐭𝐡𝐢𝐧𝐠- 𝐛𝐫𝐮𝐧𝐨 𝐦𝐚𝐣𝐨𝐫 !

Ada, you’re such a pure, pure soul and you deserve the best, even if you might not see it yourself. I hope 2023 is kind to you but please also remember to be kind to yourself as well ♡

˗ˏˋ– amethyst purple x @haithamuse

𝐜𝐮𝐫𝐫𝐞𝐧𝐭𝐥𝐲 𝐩𝐥𝐚𝐲𝐢𝐧𝐠: 𝐠𝐮𝐲.𝐞𝐱𝐞- 𝐬𝐮𝐩𝐞𝐫𝐟𝐫𝐮𝐢𝐭 !

Esther, we’ve not been talking for that long honestly, but I feel like I’ve known you for a while now. No matter if we’re simping, discussing writing prompts, distracting each other from studying or you’re listening to me overthinking my clothing size, I’m always having a good time. Also, I heard there was a certain collab in the making… ♡

˗ˏˋ– lavender purple x @bunny-rambles

𝐜𝐮𝐫𝐫𝐞𝐧𝐭𝐥𝐲 𝐩𝐥𝐚𝐲𝐢𝐧𝐠: 𝐢’𝐦 𝐲𝐨𝐮𝐫𝐬- 𝐣𝐚𝐬𝐨𝐧 𝐦𝐫𝐚𝐳 !

Bun, my honeybun, the person who gave me one of the cutest nicknames to ever exist, you are an absolute sweetheart and I love exchanging ideas with you; in 2023, let’s talk more again!! ♡

˗ˏˋ– cherry blossom pink x @yaesnovels

𝐜𝐮𝐫𝐫𝐞𝐧𝐭𝐥𝐲 𝐩𝐥𝐚𝐲𝐢𝐧𝐠: 𝐬𝐭𝐚𝐫 𝐥𝐨𝐬𝐭- 𝐬𝐭𝐫𝐚𝐲 𝐤𝐢𝐝𝐬 !

Alyssa, my fellow childe simp I love simping for our man having intellectual conversations about important topics with you haha… No but fr, I really like swinging from memes and shit talk to actually serious topics with you ♡

˗ˏˋ– rose quartz pink x @feitania

𝐜𝐮𝐫𝐫𝐞𝐧𝐭𝐥𝐲 𝐩𝐥𝐚𝐲𝐢𝐧𝐠: 𝐭𝐡𝐞 𝐥𝐚𝐬𝐭 𝐨𝐟 𝐭𝐡𝐞 𝐫𝐞𝐚𝐥 𝐨𝐧𝐞𝐬- 𝐟𝐚𝐥𝐥 𝐨𝐮𝐭 𝐛𝐨𝐲 !

Eris, the person who’ll send me the most cursed German memes at times and my gosh I love you for it. Another one who fits the category of tumblr acquaintances to talking outside of tumblr; my New Year’s resolution is to further pull you down the Genshin rabbit hole with me ♡

˗ˏˋ– coral pink x @kazuily

𝐜𝐮𝐫𝐫𝐞𝐧𝐭𝐥𝐲 𝐩𝐥𝐚𝐲𝐢𝐧𝐠: 𝐬𝐧𝐨𝐰 𝐨𝐧 𝐭𝐡𝐞 𝐛𝐞𝐚𝐜𝐡- 𝐭𝐚𝐲𝐥𝐨𝐫 𝐬𝐰𝐢𝐟𝐭 !

Ayame, my sweet, you are one of the loveliest people I had the pleasure of meeting. You’re so understanding and welcoming, I feel like I can talk to you honestly and without hiding a part of myself ♡

I know I have many more lovely moots, especially since the last couple of weeks (looking respectfully at the blue lock crowd), and I really hope we can talk and get to know each other more next year; I certainly look forward to it!!

𝐦𝐢𝐧𝐢 𝐛𝐥𝐨𝐠 𝐬𝐩𝐨𝐭𝐥𝐢𝐠𝐡𝐭!

some of my favourite blogs to revisit over and over again this year! (there’s certainly more but i did want to finish this before 2024)

˗ˏˋ– butterscotch orange x @garoujo

𝐜𝐮𝐫𝐫𝐞𝐧𝐭𝐥𝐲 𝐩𝐥𝐚𝐲𝐢𝐧𝐠: 𝐜𝐡𝐚𝐦𝐩𝐚𝐠𝐧𝐞 & 𝐬𝐮𝐧𝐬𝐡𝐢𝐧𝐞- 𝐩𝐥𝐯𝐭𝐢𝐧𝐮𝐦, 𝐭𝐚𝐫𝐫𝐨 !

Emmie, the person I’ve dubbed my big sis hehe; I think you have such good vibes, very girl boss and empowering (does that sound weird?). I hope you’re not tired off me yet, I have every intention to keep pestering you in the coming year too ♡

˗ˏˋ– sage green x @witch-hazels-musings

𝐜𝐮𝐫𝐫𝐞𝐧𝐭𝐥𝐲 𝐩𝐥𝐚𝐲𝐢𝐧𝐠: 𝐮- 𝐦𝐢𝐥𝐥𝐞𝐧𝐧𝐢𝐮𝐦 𝐩𝐚𝐫𝐚𝐝𝐞, 𝐛𝐞𝐥𝐥𝐞 !

Hazel, I loved talking to you both on tumblr and discord; you are so very welcoming and kind, always so ready to help and answer questions too, it’s easy to find comfort in your blog (you’re also very talented but we already knew that) ♡

˗ˏˋ– ocean teal x @writingseaslugs

𝐜𝐮𝐫𝐫𝐞𝐧𝐭𝐥𝐲 𝐩𝐥𝐚𝐲𝐢𝐧𝐠: 𝐟𝐮𝐥𝐞𝐧𝐧- 𝐚𝐥𝐯𝐚𝐧, 𝐚𝐡𝐞𝐳 !

Salt, I’ve said it before I believe, but I get way too excited seeing you on my dash; I read every character you write for, even the ones I’d normally skip, your ideas are simply too creative ♡

Again, to everyone who interacted with me in any way, shape or form this year, thank you for making my 2022 memorable, I want to give all of you a big smooch; hope to see you all safe and sound in the next year!!

#happy new year!! #my regulars ♡ #wanted to get this out in 2022 still #but alas #time is a fleeting thing #the colours and songs don't necessarily have a specific meaning #but i hope you like them anyway #(*ᴗ͈ˬᴗ͈)ꕤ*.ﾟ

[magicwhiskers29]

I can't believe I haven't talked about this before, but augh, I've been rotating stuff about the Beast at Ichor Mountain and Audrey in the brain -- namely how I think you can draw some interesting parallels between the King of Hearts and Audrey.

Firstly, to get it out of the way, the nomenclature Audrey Redheart. Who is the beast at Ichor Mountain? The names clearly link our two suspects, and I think it's interesting that Audrey is one of notably few characters to actually have a given surname, in this game. Miriam doesn't. The Bard doesn't. Heck, none of Hala's family do, because they don't need a surname to remind you they're all related. (Iirc, Audrey may actually be the only Wandersong character with a surname!) So why Audrey?

Why Audrey, the character who gets referred to by her epithet, the Hero, more than her name anyway?

Because it's important, of course. For one, it gives Audrey a stronger sense of identity, specifically of the identity Audrey worries people won't care about her for. Audrey tells us her own surname, clearly indicating that she thinks important you know exactly who she is. But also, and more importantly for what I want to talk about, what it means.

It identifies red as Audrey's colour, suggesting a sense of strength. And I don't specifically mean physically -- rather, because it's paired with "heart", I'd interpret it to be implying strong emotions which, yeah, tracks. Audrey is angry throughout the game just as much as she's smug or entitled. I think it's even that anger that defines her more, because the haughty attitude is an act to play up being the Hero, whereas her anger at the Bard and Miriam for interfering comes from a very genuine place of fear.

Contrast this to the King of Hearts, who's established to be represented by pink, along with a lot of the rest of Ichor Mountain. Or, namely, the outside of Ichor Mountain and the core. At the heart of the mountain is the Overseer's palace, pink like him. And he was initially kind, the kind of happy-go-lucky guy we see the Heart Fairy to be, presumably. A very different kind of strong emotion. So he's the heart of the mountain. Okay, then he must be the "Beast at Ichor Mountain", right?

I think the phrasing of this act's name is interesting. It's not the Beast of Ichor Mountain, or the Beast on Ichor Mountain, but the Beast at Ichor Mountain. It's incidental. The beast isn't necessarily a native; they're just there, the beast who's found themself haunting the mountain named after the blood of the gods.

So I'll ask again. Who is the Beast at Ichor Mountain?

Well, it's Audrey. The King of Hearts is scary. He chases you down, fights against you, snarls at you, and enacts horror movie tropes on you, but we know what he's supposed to be like because we meet the Heart Fairy -- the next Overseer of Hearts. And we see this in the King of Hearts when the Bard sings to him, and it works, somehow it works, to start calming him down. The Bard, ever the bleeding heart, does what they do best, and offers the King of Hearts their heart and soul in the form of a song, and it works!

Until Audrey cuts him down. Audrey, who's decided to devote herself to a mission that has to go against what her heart says, because we know her motivation for ending the world, and it's not because she believes in the cause, cuts down the King of Hearts in the middle of a mutual display of unconditional love and compassion. Audrey, who sat there at the heart of mountain finally confessing that she's being Eya's champion to end the world and finally escape being Audrey Redheart, a nobody, and promised right there to give compassion a chance and face her struggles rather than clinging to more than just a self-sabotaging, but a world-ending lifeline, kills the King of Hearts.

Audrey only allows herself to be vulnerable without her sword. She needs it to feel important and powerful, and only allows herself to feel things about her mission, and process things about herself, when she can't just go slicing through hoards of monsters to earn some surface-level adoration and praise from people she never stops to make an actual connection with. So when she gets it back... She can't return to being Audrey Redheart, someone who maybe could have fitted in on Ichor Mountain had she listened to the Bard and continued to follow their example. She has to be the Hero, even if that's the hero who becomes the beast at the mountain.

And because this is Wandersong, let's do a little musical analysis.

04:46-05:10, specifically. Why? This is the mash-up of the Heart and Hero motifs. Overpoweringly, we can hear the Hero motif blaring on guitars in the foreground, but also the sure and steady Heart motif from the Heart Fairy's theme in the background. The Hero motif is stronger because Audrey is clinging to it, absolutely, but also because two people are using it. And they always have been.

The Hero motif is first used in the prologue to be just that, a theme for the Hero. But then the Bard reclaims it in Chapter 2 for "I wanna be the Hero", and also "I'm going with you". These are the times the player is going to first notice it, because it's shown to them so clearly! It's only associated with the Hero, and Audrey, again later on, because it's a concept, not a person. It's a concept any character can cling to, and unlike the Bard, it's Audrey's whole identity. It becomes her motif by force.

So in this piece where it's used, it's Audrey, or more accurately, the Hero, vs the King of Hearts. And the music already shows us who will win. We've discussed which motif is played stronger.

So who is the Beast at Ichor Mountain? She's the one who takes her sword in hand and tries to slice her way through the heart of Ichor Mountain.

#Wandersong #Wandersong spoilers #audrey redheart #wandersong audrey #audrey wandersong #king of hearts wandersong #Whiskers rambles #Long post #Analysis

[vyl3tpwny]

ANTONYMPH (Vylet Ponystep Remix)

art by @astroeden

—

So I just released my remix of Antonymph, and you can read my original Tumblr post about the original song here if you want to.

There's a lot of substantial stuff going on under the surface with this remix that can be broken down into two major things:

Breaking out of burnout

Fulfilling a childhood wish

The former of these things is something that I've been dealing with since the release of CUTIEMARKS. I suppose I don't necessarily mean I've been experiencing burnout in that I haven't been working on stuff. Rather, the response to CUTIEMARKS (especially seeing the reviewbombing done over RateYourMusic) left me feeling like I wasn't quite good enough for some reason.

I think I'm good enough though, I don't think this feeling occurs because there's any merit in these thoughts. Rather, I feel oddly self conscious now about appealing to the more widespread music critic world. A lot of music in the spaces I create in (namely electronic dance music) is often looked down upon in the 'higher echelons of music enjoyment'. Paired with the fact that I do very colourful pony music, it makes me a rather big target for people to come down on.

Going into making Fish Whisperer, I specifically set out to make a project that would both criticize and appeal to the critical music consensus. I've done my part in doing that, now, and I feel more able to try and work through these feelings of self consciousness. This remix is one of the first things to aid me in doing that. It ties in very heavily with the fact that it's a style of dubstep that has been considered "uncool" and out of trend since probably 2015 or 2016. It's a really melodic, complextro-ey, Bend +/- growl type of song.

I used to try making this style of dubstep rather often. However, a quick tour through my discography revealed to me that I actually never completed and released something in this style for the near decade I've been releasing music publicly. I came to this realization only after I had actually completed the remix. This takes me to the second point I established, in that I am now fulfilling a childhood wish.

It's a huge deal to me to finally release something in this style of music. I haven't really innovated on it much and it's hardly more than the sum of its inspirations, but it also makes me super happy anyway. I was not skilled enough or had the attention span to actually accomplish a song like this when I was younger, and when I finally was able to, it was already out of style and not worth pursuing at the time.

So here I am pursuing it.

I think the whole thing of trends in the EDM community is really annoying actually. In some cases in can drive new ideas to new heights, but it can also really oversaturate other things even though there are really cool things to support it. Things like Big Room and Future Bass are considered really cheesy and silly right now, but I think that's because nobody is innovating on those things and making them fresh. I think that needs to happen, I want to see lots of genres become consistently innovated and reimagined. You see this happening widespread with a lot of genres that seem to have this trend agreed upon, like the rise of breakbeat inspired stuff in the indie electronic scene again. I think we should just consistently innovate things. Sound is kind of infinite, so it's always possible.

Anyway. The Antonymph spirit of everything is to create things for yourself and to feel as whimsical and in love with the smaller things in life as possible. I think I'm going to do a lot more music that is considered out of style and not very trendy in the EDM community. And I definitely need to regain my ability to not care what critical people think of my work. I can improve the fundamental stuff on my own time. If people really get upset at me for the styles and content matter that I write about, so be it. I'm writing for the weirdo in the corner of a school dance, not the people dancing.

Love you poniez.

P.S; the art that @astroeden made was inspired by the galaxy dubstep cat that showed up in every other dubstep compilation in 2014 or something. (You can see the full art on her page instead)

#vylop #antonymph #fluttgirshy #mlp #my little pony #fim

[real-life-senshi]

Thank you @hikamaus for the tag! I'm answering this as a way to get myself back onto making blog content for this blog!

The Rules: Tag (9) people you want to know better and/or catch up with, then answer the following:

Four Ships:

Reinako (Hino Rei x Aino Minako from Sailor Moon franchise, but specifically in live action PGSM): Please feel free to visit my blog to fully understand the scope of my love for this ship. Words alone within a post is not enough! lol I think Reinako as a ship isn't necessarily considered officially canon, though the original manga's Stars arc suggest them favourited by Takeuchi Naoko to be together. Frankly it kinda came out of nowhere until the Rei and Minako's Girl School Battle side story, and then they are like glued together in the last arc of the manga, so it's a suggested slow burn? The live action is a whole different beast, these two were thrown into each other's lives like a tornado. Their story beautifully complex and messily dramatic for a supposed kids-oriented sentai-like serie. These two had me at a choke hold and my heart and soul was theirs ever since.

Swan Queen (Emma Swan x Regina Mills, Once Upon A Time): The ship I suffered heart aches from the most. The Savior and redeemed Evil Queen co-parenting a son, their character history and dynamic was filled with so much artful subtext and plot parallels, it was such a waste they didn't end up together. They had so much potential, but screw heteronormativity in consumed media. Literally they would have become the canon main pairing of the series had one of them been a man. *deep breath and heavy sigh*

Royai (Roy Mustang x Riza Hawkeye from Fullmetal Alchemist): " I want you to protect my back. Do you understand? To entrust my back to you means that you can shoot me from behind anytime. If I step off of the path, shoot and kill me with those hands. You are qualified to do that. Will you follow me?" from Roy to Riza pre-main story "Don't go where I can't follow." from Riza to Roy at the end of their series. They have so many other iconic moments together, but these two quotes will stay with me forever as the most romantic thing I've ever read. They are basically canon in a way where these two are confirmed to be at each other's side for eternity but their shared goals meant they'll likely never act on their feelings overtly. It's all about the subtext and knowing the shared layered history, and more importantly, the sins they wish to atone for, striving to make the word better.

Bumbleby (Blake Belladonna x Yang Xiao Long from RWBY): After 8 volumes and 6 chapters with the most amazing slow burn story done well in mainstream media, these two officially became canon very recently. But at what cost? (jfc the developments of V9C7 and V9C8 was soul-shattering) But seriously though, Blake and Yang's chemistry was made clear from the very start. There's even significance to their character design - eye colours that mirrors each other's aura colour - the colour of one's soul! Like the signs were there even before the series STARTED. Then the darker, heavier elements of the story revealed itself starting the end of Volume 3, and we see both Yang and Blake making personal sacrifices for the sake of each other, without understanding the devastating impact of their different act of self-sacrifice had on each other. Both had personal challenges and barrier to overcome before they could commit themselves to each other. And boy, oh boy, how they bounced back stronger and more beautiful than ever! "She's not protecting me, and I'm not protecting her. We're protecting each other!"

(Y'all all my ships are blonde x dark haired lol)

Last Song: Worthy sang by Casey Lee Williams, even if it's only the preview. I can't wait for the full song to be out. Yeah I'm still in the honeymoon phase of V9C6, trying to ignore C7 and C8.

Currently Reading: I've not really been reading anything, just trying to lose myself in video games. I'm slowly chipping away edits on Echoes of Time, so I guess I'm reading when I'm also writing?

Last Movie: I've not watched a movie in so long, I honestly have no clue. lol

Craving: I'm eagerly waiting Legend of Zela Tears of the Kingdom's release! I'm also wanting to get back to making gifs, illustration and liveblogging for the blog, but it's been tough. :(

Tagging: absolutely no pressure doing this. I'm just tagging coz it's the rule, though I certainly don't mind getting to know people better! I would love to get to know the folks who I consistently see supporting my work across the years but I don't think I've really chatted much with. Even though I don't always reply or react, I love seeing your names pop up in my activity! :) @myucornerorg @sailorscooby @sirazaroff @izazizan @koroktorok @luna-whiskerskers @papillon82fluttersby @zaruba-needslove @primasylph @fiftyen3 I wanted to tag you but I think you have tagging disabled? :(

#tagged #khmyh replies #me #tag game

[jackiebrackettt]

29 28 23 11 ghostkicks :}

- weedsmokingboyfriends

29) what is something they can never agree on? how do they meet in the middle?

*stares at the fucking mess of their disagreements in canon* okay so. both of them are Very stubborn. things they have difficulty agreeing on stem straight from their morals on How To Deal With Things + their general safety in fights

they're both very stubborn and they.. kinda Don't meet in the middle. necessarily. they just kinda talk a lot and then stop talking bc either it's something they can't do anything about at the present moment or one of them gives in (dakota going to wavelength's/william giving up on getting dakota to make a concrete promise that he'll help himself)

28) what's something that reminds them of their partner? do they have anything on them daily as a reminder (a photo, phone background, tattoo, clothing/accessory, etc)?

william the kinda guy to go buy a heart shaped locket and put a picture of dakota in there. i think they paint each other's nails and sometimes they'll paint either 1 nail or the full set each other's colours. hey wait i just remembered there was a bit where dakota canonically carries william's asthma puffer (<- wtf is the other name for this shiOH right inhaler)

23) do they like pick up lines?

they both use them and they both hate whatever the other person says. i think dakota is aroace but he seems like the kinda guy to just mimic something he heard specifically bc he knows william would hate it. william uses puns

sometimes they'll stumble onto something the other likes but it's very much a game of "how much can i make him cringe at hearing this" -> although william Did originally use a couple pick up lines on dakota it just flew over his head bc of his aroace swag. william will also read dakota poetry and dakota loves it

11) what's a song that describes their relationship? or, what's the song that they've deemed "their" song?

idk about "their" song but GOD please listen to what-ifs by elliotly ESPECIALLY with how william's character is shifting this season. i've had this on my playlist for them forever bc of how much william considers dakota a hero but it didn't Really fit and then william started acting Like That and..

"But i've fallen for a hero carved of sun / and you're holding me in your arms right now but if / i told you everything i've done, would you run?" <- just a couple lyrics for you so you see what i mean

#asks #ask game #maybewren #ty :]!!

[transandersrights]

Info for requests/prompting

Hello I take prompts!! This is just a (hopefully short) post explaining what I write/don't write, and assorted other things. This is a Dragon Age blog so this post (which is doubling as a da drunk writing prompt list) is specific to that, but I take other requests too - you can see my fandoms most easily on ao3 (leonidskies)

Quick requesting info - easy prompts to send me are:

Ship (platonic or romantic)/character + word/phrase/song

Character + specific headcanon

Character/ship + AU

Literally just a DA thought or a vibe. I'll give it a go

When I find a fun prompt list I'll link it here

DA "drunk" writing flavour of the week: women! Please give me women to write about

For more detailed info, you can look at stuff below!

Canon stuff:

I can most easily write DA2

I can also write Origins and Inquisition characters, but I'm a little sketchier on canon events there (esp for Origins)

For spinoffs, I can write Absolution and things based on the DA novels (except Tevinter Nights)

Character stuff:

Anders is easiest for me! Beyond that, I'm most confident with mage and elf characters, but happy to give anyone a shot

I'm happy to write specific or non-specific DA OCs. If I get no specification at all, my OCs (Adrel Surana or Ilassan Lavellan) might make guest appearances

If you'd like me to do someone a little more obscure pls just make sure they have a wiki page. But I'm very flexible I promise!

Unless you specify, I'm gonna assume that you're happy with characters being written as complex + not necessarily good all the time. My DA opinions will colour how I write characters!

Ships:

Go nuts. I am not picky (some exceptions noted below). I love rarepairs

Handers is my bread and butter. Beyond that I have little experience but much enthusiasm

I will happily write poly ships!

I'm most comfortable writing explicitly queer ships (incl m/f with trans characters or m/f with canonically bi characters)

If you give me literally any platonic dynamic I will write it very happily

My "canon" is nb!Surana/Zevran/Leliana, m!Hawke/Anders, and m!Lavellan/Dorian (also trying out: m!Lavellan/Josephine). Again, they might pop up unless you're specific about not wanting them

Keep in mind that I might not write your ship in the way you're used to it being written!!

I love writing:

MAGES

Elves

Platonic relationships

Trans and nonbinary characters

Disabled characters

A variety of queer headcanons

Found family/family feelings

Any setting

I will not write (DA relevant):

Pro-Circle/Chantry/Templar

Mage/Templar ships (including former Templars, including Seekers), unless they're Tevinter

Master/slave ships

Varric ships (I am sorry he is aroace to me)

Canonically gay characters in m/f relationships

I will not write (general):

Incest, adult/minor, or student/teacher

A/b/o

Cisswap

Suicide (references to suicide = okay)

NSFW/kink (fade to black/pillow talk = okay)

RPF

Harry Potter/Mafia/Police AUs

Pregnancy or bio fankids

Assorted other stuff:

I'm a very versatile writer! When I say I'll write anything I really do mean that

You'll probably get anywhere between 300-1.5k depending on the prompt and how feral I go

I will post finished requests here, but they'll also eventually make their way to ao3

I'm fast when I write. I'm very slow when I don't. That's just how it be

I take prompts at any time! They're most likely to appear on evenings when I'm working from home/the weekend

I will simply delete prompts I don't like

[stageyrebecca]

Theatre doesn't owe us authenticity

Or rather, theatre doesn't owe us perceived authenticity.

I think about this all the time, coming from a theatre studies background. So many plays, fringe shows, musicals and so on (extending to film and TV) are based on real-life stories. They're based on interesting historical events, figures, musicians, politicians, and moments in time. And the closer we get to present day, the harder it is to divide our experience of them and media surrounding it.

The Crown's audiences generally agree that the earlier seasons were more successful as audiences learnt lesser known parts of the Royal Family. And the latest season was just too close to what we've already experienced that it didn't feel true to what we already knew.

But we're not owed authenticity.

My motto with all theatre, and indeed film & TV, is "it's not a documentary". They're adaptations; they're telling us something through a specific lens, focused on particular moments or ways to analyse the present with events of the past. My domain with theatre, outside of musicals, is documentary and political theatre. It's always sparked my interest, specifically verbatim theatre as I wrote a semi-verbatim piece which I had a staging of years ago.

But even verbatim theatre doesn't owe authenticity to the material, to the subject matter and beyond. Let alone fictionalised retellings of events, which have the tall order of creating dialogue for undocumented conversations.

Before I move on, when I say "authenticity" I mean deep, analysed accuracy of a historical event or person, identified from all angles including right and wrong, present and past, real-time movement and public perception.

Take Hamilton - which I think is the ultimate example of this, and perhaps the extreme. Notably it has colour conscious casting to grapple with America's foundations through a modern lens, but it has the impossible task of refining years' worth of history into three hours. We have, generally, accepted this to be okay and a good example of not only musical theatre, but storytelling as a whole. And paved the way for the likes of Six the musical and Sylvia to adopt similar approaches.

And yet, we're still met with other musicals and plays that demand authenticity from some audiences. Despite us knowing that, through shows like Hamilton (obviously not the first) an exact retelling of events and the people in them is not even necessarily the best way to present theatricalisations of history.

It just sends my mind into a frenzy.

The three musicals mentioned above, perhaps, because now no one knows any parties involved due to passage of time are given an allowance to have inaccuracies and poetic licensing. Or the topics just aren't as commonly known and are therefore less open to history pedants (you'd be surprised at how many people don't know Henry VIII even had six wives).

Theatre at its roots can't give authenticity and nor should it. I think partly why this is a demand from audiences is because, again, shows like Hamilton feeeeel like a proper retelling of the founding of America because there's so much information in there, even if it's definitely not. And other West End, or big glitzy shows, *should* have done their due diligence into making it the most accurate, modern day-led angle in analysing the events. And maybe small shows with small casts in a small studio would be allowed to play with it all a bit more. But this dispensation should be allowed for all theatre.

I'm whittling on, but let me give some examples:

The recent Just For One Day at The Old Vic. It's impossible to hold this show to a standard that accurately represents Live Aid and its performers - so it actually took a step back to not do that which was a nice surprise. It kind of has the songs featured in the concert to score the creation of Live Aid, its fans and its key figures. In some ways, perhaps that is it giving authenticity and leave the actual concert to rest. But there's the angle that it's not diving enough into the criticisms of Live Aid from a modern perspective, or even from a 1980s perspective. It doesn't do enough to show that Live Aid perpetuates a white saviour complex.

It just doesn't have to. Maybe you walk away thinking "actually this has given me a really sour taste of what Live Aid was", and that's a great thing to take away. Querying and questioning the material and topic are totally acceptable things.

But deciding whether or not Live Aid was right wasn't the purpose of the piece. These topics are drizzled in, but ultimately Just For One Day is somewhere between a nostalgia trip for those that remember the concert, and showcasing the power of music and the world pulling together for a humanitarian effort.

A more tricky note for me was Dear England. It drew in a crowd of people who don't typically go to the theatre, and I think some were (similarly) taking away different points from the show. I had people say to me that they didn't like it, or that they were uninterested in seeing it, because it was trying to convince them that Gareth Southgate is an excellent England football manager. I mean, it doesn't, but some may confuse topic with sympathy. It's just a fictionalised retelling of those key years. It's *not a documentary*. It's not telling us to think anything of the people involved.

Also, Operation Mincemeat. There are so many other interesting angles to analyse Operation Mincemeat by, so many other theatrical devices to do this by. But landing on farce just so perfect for the piece, a clever way to marry the material to theatre and ultimately make it entertaining. The themes go beyond just placing a historical event on stage - and in the process must take dramatic licensing.

Dramatic licensing, whether that's truncating the story to actually make it a bearable 2.5 hours and not a real-time 10 year event, or altering figures to become comic relief, for example, is a necessary theatrical endeavour.

On a different note, take book to stage adaptations or film to stage adaptations. They're some of the easiest places to get critics as generally their audiences are people who love the source material.

The Time Traveller's Wife has been a film and a TV show, and now a musical. It's a book so beloved that I kind of love hearing why the film is bad or good, or the TV show is bad or good, as an adaptation. And much like the musical, it's simply that - an adaptation. Dialogue will change, scenes might move about, characters might not get as much stage time as they did in the book (page time?).

Back to the Future has made some necessary changes - the Libyans don't feature in the stage show despite being the major driving force for the actual plot of the film. And, perhaps due to sensitivities, that changed for the stage show. And it works (in my opinion - although I want to make it clear none of what I'm discussing in this essay are actually whether I think it 'works', rather it's theatre so it doesn't have to). Removing something that is either offensive/outdated or tricky to stage, and replacing it with something that drives the plot forward of equal quality.

Audiences need to free themselves from the notion that theatre must be perfect at all times, and that X Show: The Musical! should be THE DEFINING adaptation, and THE DEFINITIVE new take on something.

Theatre is always an exploration, and some may be more expensive or deeper analysations than others. But it's not a prerequisite for making it.

[soda-boots]

Affirmations

I feel like writing, but I can't think of anything to write about (at least well) except about Ellis.

What do I say actually? I think I really do like him, maybe that's why I'm so anxious now. I was overthinking drinking water in his room. I seemingly forgot how to drink water silently. Every gulp of water felt louder and heavier than the last one. I've never been more self-conscious about a basic task like that before. Am I circling back to my reservations with being perceived. Which still makes no sense to me, I don't necessarily try to blend in (ever) or be silenced (except at the music show where I seldomly interject but that's mostly because I enjoy to watch the interactions).

Is it strange that I just want to touch him ? On the rare occasion, where our arms have brushed it felt exhilarating. On the flip side, I don't often enjoy touch half the time , so that's a weird dichotomy...

I wonder if I say enough or not. Am I giving 'more than friends' vibes ? How do I even do that? I have no idea to even go about that or convey those feelings, and gauge whether I'm doing it effectively or not. I like it when I'm near him, even when we don't say anything. However, does everyone feel that way ? I don't want things to become awkward.

Throughout the two films, I yearned for his comments (just so I could hear his voice). I adore the sound of his voice; I think that's a psychological thing, obviously. I giggle when I imagine him laughing like Prince William. Eww a giggle though (be embarrassed, I concurrently am and am not). When I see him everyone else blurs away into a haze of human-shaped off-focus individuals. How am I meant to notice anyone else when you're there. Sitting next to him, I just noticed the light hairs on his arm; the waistband of his underwear, but strangely I can't remember the colour of his eyes. I never can seem to, how bizarre ? Especially considering how I insist on keeping eye contact with people while they speak to me. There might be some form of disassociation happening somewhere or I just blanket interpret everyone's eyes as brown after I meet them.

I am very tired now, so good night.

Edit :

The title is in reference to Hannah Diamond's song from her new album, Perfect Picture

I am building my own world

I am a business women and my own CEO

I will always be enough

I mean a lot to all my fiends and I will never give up

I'm the girl who gives her time and energy

The girl who's anything she wants to be

I can be a better me

These are the affirmations from the song, which Hannah chants to 'keep repeating'. I don't really do affirmations except for specific moments where I need a confidence boost. I guess I enjoy the declaration of the inverse of an anxiety. Affirming it's not true (or should I say confirming the opposite is true to be more positive) provides some reassurance. However, if it stems from place of insecurity (don't you already believe that insecurity to be true to have to deny?) is an affirmation just a coping mechanism ?

I've been thinking lately about how I struggle to actually say why I like people. Intrinsically I must know, right?

I've still yet to meet all my flatmates. We're three weeks in now, that's so odd. I'm definitely comparing my interactions with them to my flatmates from last year, but we're so not a 'group'. Sure, last year my flatmates weren't a friend group but I still spoke to them and we hung out one on one. Thinking about it, I have a distinct memories of hanging out individually (or in a trio) with each of them: press with Avisha, Elvis with yasmin, caving with Saskia, talks with Zara, pizza with Hannah and yasmin, watching some of thoroughbreds (with Dan (who actually didn't live with us) with Francis being there for a while). It's weirdly isolating not even being barely friends with any of them (yet). I guess I'm only three weeks in and I am barely in my flat during the week, so I won't deep it too much.

#university #journal

[enamouredfae]

♡ Pick a Card ♡

What does the person you have in mind think about you!

This is a short and sweet pick a card where I look to tell you how the person occupying your thoughts thinks about you. These can be things they want to say, but feel they can't; the feelings they have for you, the fears and the longings that have to do with you; perceptions of you, etc. This can be a specific person you know or someone you will meet in the future, it can even be a part of you. You can ask about your future spouse, love of your life, twin flame, soulmate, ex, friend, inner child, past self, etc.

Before picking a card ask and meditate on:

"What does [person] think about me?"

then intuitively pick the pile(s).

Disclaimer: I want to remind you that most of the messages are very open to interpretation, and the first "clear" meaning of the message isn't necessarily the right one for you. For example, "i know nothing about you" could mean that they don't recognize you anymore or that you don't share enough information about yourself, but it could also mean that this person is a stranger to you atm. Pick up on the nuance that feels right to you. If you feel like a card isn't accurate or does not resonate, you are most likely right. Don't take the reading as fact. Trust your intuition, and do tell me in the feedback the parts that feel right and the ones that feel wrong, I'd love to hear different interpretations on messages too!

This reading is for entertainment purposes only.

This is a timeless reading for the collective, therefore it is likely that some messages will not resonate with you. Please only take the messages that do! The messages that do not, are meant for somebody else. Remember that the future is never set in stone and that you possess free will! Love you! ♡

Pile 1 ✧ Leaf

leaving, fall, falling in love, drifting through life, lack of control, being pushed around, recipient, yin, withering away, slowly dying, depressed, walked over, easy-going.

✧･ﾟ: *✧･ﾟ:* ✧ *:･ﾟ✧*:･ﾟ✧ ･ﾟ: *✧･ﾟ:* ✧ *:･ﾟ✧

Who are you thinking about?

introvert | same age | taller | whip | book | 11 | 26 | 2 | 8

they could be someone you had an argument with or an argumentative person in general, intelligent, secretive, they may have a higher education and be seen as an expert in their field, there may be a power imbalance, dominant, disciplinary, manipulative, you may have written in your journal about them, there may be a secret involved in this connection, using sexuality as a tool of persuasion, coercion into kink/sexual situations, knowledgeable in sex, secret sexual relationship, you may learn a lot from them, they could be a teacher, sexy, they could be abusive please be careful, you may not know them yet or they could be hidden from you atm, thoughtful, critical.

8 might be their life path number. they may be born on the 26th or the 8th. themes of the 8th house in astrology might arise a lot in their life. they may have 8th house or Scorpio placements. you may have significant 8th house synastry.

11 might be their life path number. they may be born on the 11th. themes of the 11th house in astrology might arise a lot in their life. they may have 11th house or Aquarius placements. you may have significant 11th house synastry.

2 might be their life path number. they may be born on the 2nd. themes of the 2nd house in astrology might arise a lot in their life. they may have 2nd house or Taurus placements. you may have significant 2nd house synastry.

✧･ﾟ: *✧･ﾟ:* ✧ *:･ﾟ✧*:･ﾟ✧ ･ﾟ: *✧･ﾟ:* ✧ *:･ﾟ✧

What do they think about you?

"i wish you tried harder."

"you've outgrown me."

"right person, wrong time."

"your expectations are too high."

"is it because i remind you of them?"

"you didn't seem interested."

Pile 2 ✧ Key

key to one's heart, locked away, hidden, protected, only few can open, key tattoo, looking through the keyhole, looking withing, treasure, opening up to the world.

✧･ﾟ: *✧･ﾟ:* ✧ *:･ﾟ✧*:･ﾟ✧ ･ﾟ: *✧･ﾟ:* ✧ *:･ﾟ✧

Who are you thinking about?

ambivert | gray or blue eyes | younger | stars | moon | 16 | 32 | 7 | 5

divinely guided and blessed union, synchronicities are prevalent with this connection, feeling like the universe participated in you finding each other because of how unlikely or based on luck it feels, wish fulfillment, dreaming of/about each other, knowing immediately, being a muse, somebody well-liked in their job, popular, you may meet at night, you may know them from work or meet them on vacation, manifesting a person, feeling like a blessing to someone, hopeful, visionary, aquarius/cancer and/or 4th/11th house placements, 4th/11th house synastry, they may have a hidden side, famous, dream come true.

7 might be their life path number. they may be born on the 7th or the 16th. themes of the 7th house in astrology might arise a lot in their life. they may have 7th house or Libra placements. you may have significant 7th house synastry.

5 might be their life path number. they may be born on the 5th. themes of the 5th house in astrology might arise a lot in their life. they may have 5th house or Leo placements. you may have significant 5th house synastry.

✧･ﾟ: *✧･ﾟ:* ✧ *:･ﾟ✧*:･ﾟ✧ ･ﾟ: *✧･ﾟ:* ✧ *:･ﾟ✧

What do they think about you?

"i find pieces of you everywhere i look."

"our love is what movies, books, and songs are written about."

"please start putting yourself first."

"i don't know if i want to be near you, or to be you."

"i play the song that reminds me of you."

"i'm manifesting you."

Pile 3 ✧ Fleur de Lys / Lily

french, royal, pure, faithful, gardner, gold, feeling reborn, motherhood, 100 years of love, fertility, strong morals, growth, in bloom, spring/summer/fall, not a cat person.

✧･ﾟ: *✧･ﾟ:* ✧ *:･ﾟ✧*:･ﾟ✧ ･ﾟ: *✧･ﾟ:* ✧ *:･ﾟ✧

Who are you thinking about?

different ethnicity/nationality | blonde | tattoos and/or piercings | man | lily | 28 | 30 | 10 | 1 | 3

they may identify as male, or embody a lot of masculine/yang energy, they may be older than you, very peaceful, you may feel like you can tell them any secret because they are very discreet, they may feel or describe themselves as a "grandpa/grandma" or dress like one, they may be very mature, they might've had to grow up fast, they can feel very serene and like a safe space, they could be the "calm" friend that you just recharge with, enjoying each other's company in silence, they may remind you of your grandpa/grandma, they may be a mentor, they may often talk out of experience or randomly say something very wise.

1 might be their life path number. they may be born on the 28th, the 10th, or the 1st. themes of the 1st/10th house in astrology might arise a lot in their life. they may have 1st/10th house or Aries/Capricorn placements. you may have significant 1st/10th house synastry.

3 might be their life path number. they may be born on the 30th or the 3rd. themes of the 3rd house in astrology might arise a lot in their life. they may have 3rd house or Gemini placements. you may have significant 3rd house synastry. ✧･ﾟ: *✧･ﾟ:* ✧ *:･ﾟ✧*:･ﾟ✧ ･ﾟ: *✧･ﾟ:* ✧ *:･ﾟ✧

What do they think about you?

"i'm scared of being vulnerable."

"i don't feel the same way you do."

"if we're lucky."

"i always check your horoscope too."

"you're romanticizing toxic things."

"you're my safe space."

Pile 4 ✧ Knot

balanced, harmonious, interconnected, interlaced fingers, hair knots, sacred geometry, synchronicity, self-sufficient, symmetry lover, 444, four-leaf clover.

✧･ﾟ: *✧･ﾟ:* ✧ *:･ﾟ✧*:･ﾟ✧ ･ﾟ: *✧･ﾟ:* ✧ *:･ﾟ✧

Who are you thinking about?

green or hazel eyes | older | colourful hair | rider | child | 1 | 13 | 4

they may be a mailman or a delivery person, incredible conversations that can change your perspective on things, immature, naive, happy inner child, enjoys simple things, young, may be a student atm or when you meet, appears into your life with a new beginning, or causes a new beginning, they may be a very trusting person, could literally be a child (under 18), could come with huge announcement, constantly changing, unpredictable, hyper, could have a child together, may have met them during some sort of visit, helping them grow, may see you as a child, trustworthy.

1 might be their life path number. they may be born on the 1st. themes of the 1st house in astrology might arise a lot in their life. they may have 1st house or Aries placements. you may have significant 1st house synastry.

4 might be their life path number. they may be born on the 13th or the 4th. themes of the 4th house in astrology might arise a lot in their life. they may have 4th house or Cancer placements. you may have significant 4th house synastry.

✧･ﾟ: *✧･ﾟ:* ✧ *:･ﾟ✧*:･ﾟ✧ ･ﾟ: *✧･ﾟ:* ✧ *:･ﾟ✧

What do they think about you?

"i know nothing about you."

"i want us to grow old together."

"cupid ran out of arrows when it came to us."

" i still think about you, i can't let you go."

"i'm obsessed with you and it's not pretty."

"i write you in my daydreams."

Pile 5 ✧ Fork

forks from twilight, great cook, picky eater, a pick-me-up, eating with a specific fork, collecting forks, separation, falling/sliding through the cracks, bifurcation, neptune.

✧･ﾟ: *✧･ﾟ:* ✧ *:･ﾟ✧*:･ﾟ✧ ･ﾟ: *✧･ﾟ:* ✧ *:･ﾟ✧

Who are you thinking about?

brunette | straight or wavy hair | extrovert | woman | dog | 29 | 18 | 11 | 2 | 9

they may identify as female, or embody a lot of feminine/yin energy, friendship, loyal, dependable and helpful, humble, "bitch", may be very compassionate but also may be inclined to pitying people, may be a person who is blindly loyal to people that do not deserve their loyalty and love, "we accept the love we think we deserve", very giving and loves giving, golden retriever as a person, supportive, could be codependent, animal lover, a person in your friend group, or any group you belong in, wants to receive love, but even when they don't, they still give the other person their all, requires a lot of attention, athletic, active, optimistic, feels the need to help and people please because they feel like that's the only way they'll deserve love.

11 might be their life path number. they may be born on the 29th or the 11th. themes of the 11th house in astrology might arise a lot in their life. they may have 11th house or Aquarius placements. you may have significant 11th house synastry.

2 might be their life path number. they may be born on the 2nd. themes of the 2nd house in astrology might arise a lot in their life. they may have 2nd house or Taurus placements. you may have significant 2nd house synastry.

9 might be their life path number. they may be born on the 18th or the 9th. themes of the 9th house in astrology might arise a lot in their life. they may have 9th house or Sagittarius placements. you may have significant 9th house synastry.

✧･ﾟ: *✧･ﾟ:* ✧ *:･ﾟ✧*:･ﾟ✧ ･ﾟ: *✧･ﾟ:* ✧ *:･ﾟ✧

What do they think about you?

"please don't break my heart."

"i hate us."

"you're one more reason for me to stay."

"you hurt me."

"it's like I'm looking in a mirror."

"our relationship isn't balanced."

Pile 6 ✧ Dolphin

swimmer, psychic, sensitive to one's environment, perceptive, being able to read people easily, intuitive, protective, paranoid, healing, freedom, in tune with emotions.

✧･ﾟ: *✧･ﾟ:* ✧ *:･ﾟ✧*:･ﾟ✧ ･ﾟ: *✧･ﾟ:* ✧ *:･ﾟ✧

Who are you thinking about?

LGBTQIA2S+ | brown or black eyes | shorter | key | garden | 33 | 20 | 6 | 2

they may be the key to your social climbing, you may meet them at a party or social gathering, you may meet them when celebrating smth or in a venue, they may be very social and inviting, open-minded, party person, they are very important to you, they feel like a revelation, they may make you realize smth about yourself, opening lots of doors, they will reveal their secrets to you and vice-versa, they will open you to a whole new social group, opening up to the world, they may hold the key to your soul-tribe, one of the few people who could open you up, they see right through the facade you show the world, hidden treasure in a crowd.

3 or 6 might be their life path number. they may be born on the 6th. themes of the 6th house in astrology might arise a lot in their life. they may have 6th house or Virgo placements. you may have significant 6th house synastry.

2 might be their life path number. they may be born on the 20th or the 2nd. themes of the 2nd house in astrology might arise a lot in their life. they may have 2nd house or Taurus placements. you may have significant 2nd house synastry.

✧･ﾟ: *✧･ﾟ:* ✧ *:･ﾟ✧*:･ﾟ✧ ･ﾟ: *✧･ﾟ:* ✧ *:･ﾟ✧

What do they think about you?

"i've outgrown you."

"i'm longing for your touch."

"i won't change for you."

"i wish you knew how much you've helped me."

"stop trying to change me."

"together for a good time, not a long time."

Thank you for reading! Love you all.♡

You can buy me a coffee if you feel called to do so! This is never necessary, but always appreciated! ♡

#4:44 #i hope you all enjoy!!! #take what resonates #pick a card #pick a pile #fortune telling #divination #cartomancy #tarot cards #collective reading #collective tarot reading #collective oracle reading #free tarot reading #free oracle reading #tarot #tarotreading #oracle #oracle cards #love reading #oracles #witchcraft #enamouredfaepickacard #enamouredfae

[walkuntilthedaylight]

The people have spoken! How can I not give them what they want?

I'm gonna put this all under a cut, since it's a bit long, and also because it's highly interpretative/speculative and not everyone likes those kinds of posts as they can be rather subjective and, I suppose, invasive. I want to give two major caveats to my thoughts below: first is that I tend not to buy the idea that Paul was the "stable/normal" Beatle, mostly b/c I view marijuana dependency and workaholism as addictions and I take them pretty seriously. Second is that I really do love this kind of tabloid/gossip/personal account shit; I think it should be taken with a handful of salt, but I don't think it should be entirely dismissed out of hand either. I read this stuff like I'm piling up sheets of stained glass: I'm intrigued by the places where the colours blend and overlap, and ignore things that fall outside the prism. Anyway, let's dig in:

Okay, so what I found fascinating about 'Body Count' is that it's one of the only sources which observes Paul McCartney's mental health during the period between the India trip and when the band breakup really got rolling. I think it's overall a fairly self-absorbed text that definitely has some lies and exaggerations peppered in there to make things spicier and more dramatic, but its broad characterization - as I mentioned in my first post - isn't exactly libelous or out of left field. Some elements that make me think it's generally if not wholly authentic are: Paul's simultaneously forceful and dorky seduction style, his terrible Liverpool diet and poor housekeeping, the bouts of thrill-seeking recklessness, avoidant adventure crafting, dark moods when drinking non-socially, the occasional hot and cold bouts with the Apple Scuffs camped out at his gate, and the way in which he underplays his drug habit, which is SO "in truthfulness we spent most of the filming of Help! slightly stoned":

These details are so bizarrely specific and have significant overlap with both sympathetic and spurned personal accounts of Paul I've read in the past, so I believe Francie is just telling "Her Version Of The Truth" here rather than crafting a piece of pure fiction. The most important and revealing anecdote in the book is this one.

There's no reason not to believe this is a fairly accurate representation of something that actually happened, imo, since we know that anxious purse strings were an ongoing issue in the unusual turnover rate within the band Wings, and there are plenty of confirmed and rumoured cases alike of extended family members feeling entitled to a "piece of the pie"; this is just like, the kind of thing that happens to working class people who get catapulted into fame and fortune. And Paul in particular already had deep-seated financial anxiety for whatever reasons he'll never fully admit (as is his right, but I think his offhand claim that he "once heard some adults arguing about money and that's why" might actually be alluding to having heard some adults - y'know, like his parents - arguing over money fairly frequently). What esp interests me about the anecdote is the way Paul seems to connect the conflict b/t his dual "identities" with these financial expectations. Perhaps the CAPSLOCK emotional hysteria related in the book is puffed up for drama, but it does bring to mind one of the most revealing comments Linda ever made about their relationship, which is that Paul needed to be told he would still be loved when the cameras weren't rolling. And that's the thing: Francie caught Paul at the exact moment that the pillars of his Smile-For-The-Camera "Beatle" identity were collapsing; the dissolution of his relationships with John and Jane.

Whatever all this could possibly mean re: the breakup of the Lennon-McCartney partnership is a post for another time. What I wanna do instead is apply the level of speculation we usually reserve for that relationship to the endpoint of Paul and Jane's courtship.

So like, Paul and Jane: I know people are resistant to this specific POV, but I honestly just don't... think it was that deep? "Not deep", mind you, doesn't mean "not significant". Paul was obviously Jane's first love (u never forget), but the feeling I get from Paul's side (as a subconscious process I mean) is that Jane's importance was primarily as a lynchpin in his London Socialite persona. He loved her family, he loved the friend group, the artistic scene dating her gave him access to, as well as the leg up he got in the class system, etc. He liked to be the kind of guy who was dating Jane Asher. But I don't know that he was the guy who was dating Jane Asher, you get me? When people describe their "great love" they accidentally tell on them (Cynthia innocently describing Paul as being pleased to have her on his arm like a trophy; John: "it was an ordinary love scene"; Alistair Taylor noting that Paul was humiliated by the breakup). Paul's a serial monogamist who U-Hauls like a lesbian, of course, so he definitely took the relationship VERY seriously, but it's telling that all of his love songs to her were either about hitting a brick wall in arguments (certainly not dreamy, fond, yearning of "sunday morning fights about saturday night"; and occasionally expressing hints of class tension too), or completely non-descript Guy With A Guitar Trying To Get Laid shit. I could extrapolate a lot about Linda just from listening to McCartney I/RAM and the Wings discography, but 'And I Love Her' doesn't tell me a single thing about Jane besides that she's pretty. It could be about literally anyone the same way 'My Love' or 'Maybe I'm Amazed' could only be about his dynamic with Linda. Some of this is obviously the natural result of getting older and gaining emotional maturity; what I'm saying is that Paul's behaviour and self-expression in this relationship does not suggest to me that it was one in which his emotional maturity was able to develop or flourish.

I want to stress again that I don't think this belittles the significance of the relationship or makes it "bad" or "fake". Like, sometimes hot people just date for a while in their teens and twenties and love each other without necessarily unlocking their inner emotional cores, usually because they don't know how to. It's, like, fine. You need to experience relationships like that as stepping stones. I simply believe that this sort of front-facing social importance being prime in the romance is a major factor in why it ultimately didn't work (and probably in Linda's reported lingering jealousy of Jane, who wasn't just an ex, but also a symbol of the life Paul ditched to build a new identity w/ her, and sometimes still pined for). With Jane, Paul was dating the "right" kind of girl (didn't put out on the first date, erudite and middle class, as serious about her career as he was, a good "celebrity" match), but the relationship often wasn't doing what he wanted it to do. Francie's observation is that by 1968 it also wasn't doing what he needed it to do either. This is the overwhelming "mood" in her affair with Paul McCartney: that he needed something very badly from a romantic partner that he just was NOT getting, and Francie couldn't figure out what it was either:

(note that she means "queer" as in "mad", not "gay")

This was an EXTREMELY roundabout way of asking: well, what WAS it that Paul needed a relationship to do for him? And I think this is Francie's big, accidental insight. The most scandalous claim in 'Body Count' is that Paul told Francie that he hit Jane and it "turned her on".

I personally think this is p. absurd absent any real proof to back it up, but like, what is Francie actually saying HE'S saying here? If she's exaggerating or lying, she's trying to make it believable within the psychological parameters laid out, right? It's not an expression of some secret desire to dominate women she's accusing him of, but emotional disturbance and confusion at the idea that the woman he was with might like that sort of forceful, masculine violence more than his softer, feminine side, which he was - yeah, we all know it - deeply insecure about.

Regardless of whether specific details are true or false (and I think there's both in this story, all hyper-magnified to make it, y'know, a ~STORY~), I think what might be true is the emotional undertow of the retelling, that this all taken together is actually representative of the side of Paul McCartney she was exposed to, at a time when his public and private facades had both become unbearable to the point of cracking and the drug-fueled optimism of the Summer of Love was getting scrubbed off of everyone and everything. It's the Paul McCartney who eviscerated frogs because he was worried he was too "soft" for compulsory military service. The Paul who modelled his masculine teen behaviour off John Lennon's fake "Marlon Brando" swagger, but was actually more fond of the velvet "Oscar Wilde" interior.

What's SO FASCINATING about all this to me, is I deeply believe that one of the key factors in what makes The Beatles music so unique and compelling is that both the songwriters experienced psychological strain from the tension b/t their parochial socially-defensive "masculine" pride, and their sensitive "feminine" core, the latter of which they were able to express in the unburdened emotionality of their music. The reason I care about doing these totally unhinged psych analyses is because I do think it reveals something about the underpinnings of the music, as well as the reasons why the band was such a hysteria-inducing phenomenon (the rise of psychology, imo, is almost as important as the rise of industrialization as a defining factor of the modern and postmodern eras; mass psychology can be understood and wielded in precise ways, and The Beatles were one of the first empires built on that). The subconscious drives caused by this tension have been ENDLESSLY picked apart re: John's psyche, but Paul's "mirrored" issues are very under-discussed (mostly b/c he's still alive so people are a little more leery about putting him on the "couch" as a historical figure). 'Body Count', intentionally or not, painted a portrait to me of someone who was drowning in their own ill-fitting celebrity "suit", collapsing under the weight of "Being" "Paul McCartney". A guy who desperately needed some sort of space to be vulnerable without feeling emasculated for doing it. By 1968, there was no one in his life anymore - and maybe there hadn't been for a while, or ever - who was giving him this space.

In other words: the thing he needed to avoid going "stark raving queer and killing himself" was simply someone who would love him 'after the ball'.

EDIT: read the comments for further clarification and discussion! ;)

#/ #// #/// #//// #///// #the beatles #mccharmley #analysis #long post #Talking About Paul The Way I Talk About John lmfao #Taking Tabloid Bullshit Seriously #(if not literally) #*gets out my fake spectacles and jumps into the psychiatry armchair* #idk if i laid out my thoughts v well here but i hope it satisfied all the people who asked #i also tried to warn what genre of post it was for those who hate this kinda thing lol #i feel like i have more to say re: how toxic 'The Beatle' facade got for all of them by this point #and paul and john's mirrored post-india breakdowns #but francie's perspective is specifically on how it felt to be the girl he used to divebomb his relationship with jane asher SO

[dtrhwithalex]

TV | Leverage (Season 2, Rewatch)

Rewatch of the second season of TNT's LEVERAGE (2008-2012), created by John Rogers and Chris Downey together with Dean Devlin and his production company Electric Entertainment.

In anticipation of the show's reboot / revival / sequel LEVERAGE: REDEMPTION coming to IMDbTV on 09 July this year, I am rewatching the original 77 episodes and writing about my favourite moments and things from each episode, season by season.

201: THE BEANTOWN BAILOUT JOB

D: DEAN DEVLIN. W: JOHN ROGERS. Original Air Date: 15 July 2009.

We here at the Rabbit Hole adore the Beantown Bailout Job very much (and by we I mean me). It is such a great season-opener and everything about it sets up the season so nicely. Also let me just say, I love the cheesy intro. I like to imagine that this plays on whatever website the clients usually end up finding the team. It would be so confusing. And wonderful.

This episode, of course, also introduces another of my favourite characters: Lt. Patrick Bonanno, State Police. And I am very sad that there is zero chance we'll ever get to see him in the reboot, since the wonderful Robert Blanche has unfortunately passed away last year. Bonanno was such a fantastic addition to this show and I love him very much. He is just brilliant in every episode he is in.

Aside from the introduction of Bonanno, Beantown is a brilliant episode for various reasons, but I wanna talk about this one most of all. John Rogers talked about this on his blog, I think -- not one member of the team can come straight out and admit that they need the others. It is the impromptu meeting at Sophie's performance that brings them together again (very much against Nate's best attempts). Only once they're at McRory's and Parker suggests stealing something to cheer up Sophie is when they all fess up and tell Nate that they want this team back together again. And then, of course, we have one of my favourite sequences in this entire show: Nate forcefully being bullied back into this family. They do exactly what he did to them in The Second David Job -- they get him to contribute knowledge to the case that they, allegedly, lack. And he knows what they're doing, of course, he's not an idiot. Well played, indeed.

I would also like to personally thank one Nadine Haders, this show's most brilliant costume designer, for every single piece of clothing she put on Christian Kane for this episode. That green sweater with the brown jeans jacket? All my love to you, Nadine. All of it. Also, uncharacteristically, Nate has some very good looks in this episode (the man looks healthy for once!) and I am unreasonably mad about it (actually, he has some very good looks this entire season).

One last thing: I would like to have a word with whoever decided to play the Andy Lange song here that Sophie's departure in The Two Live Crew Job is set to. It makes this first half of the season a circle. Who do I need to have words with? Who?

202: THE TAP-OUT JOB

D: MARC ROSKIN. W: ALBERT KIM. Original Air Date: 22 July 2009.

An absolutely amazing episode for Eliot but also very much for Sophie. They are the Conference Of Mom Friends, and I adore them very much, thank you. It is a fantastic episode for them individually, but especially also for the specific relationship these two people have. There is an amazing post floating around on this website (this one here) talking exactly about this episode and Eliot and Sophie in the role of protectors in their team, their family.

There are a few scenes here that I really like and really, most of them are about or with Eliot. I love in the briefing at the hotel that Eliot does not just dismiss Sophie's misunderstanding of wrestling, but takes the time to explain to her what the sport is about -- and she listens. We also here get a nice glimpse at the fact that Eliot teaches them certain fighting skills and self-defence techniques, which I just love so much. Just as Sophie coaches them all in their grifts, he makes sure that they all have a certain know-how in fighting and protecting themselves. It's so good.

I am also very fond of both the moment where Eliot brings Sophie to the restaurant to meet with Rucker, but also Sophie showing up at the gym at night to talk to Eliot while he's preparing for the fight against Tank. Eliot gives away so much of himself in this episode, and it is very interesting to me that the person he does this with is, continually, Sophie. The others may be on comms, and might be, for all we know, listening in, but it is Sophie he tells these things to. It's like Hardison says later in The Two Live Crew Job: "We trust Nate to make sure the plan works, we trust you (Sophie) to make sure we're all okay." While I would not necessarily call Sophie the heart of the group (that's Hardison), she is very much the emotional centre of it.

This episode is also just very lovely to see how they all take to an environment that is, for once, not big city life. Eliot takes to it immediately, which makes sense, because he probably is from a town not much different from this one. Parker, somehow, fits in immediately as well (I love her I <3 Nebraska shirt). I feel like Nate never has any issues fitting in anywhere, he just takes things as they come. It is Hardison and Sophie who have difficulties -- Sophie because she is, after all, a bit posh and needs certain standards met, and Hardison because his world of technology does not mix well with a small, rural Midwestern town ("Can't hack a hick" anyone?).

203: THE ORDER 23 JOB

D: ROD HARDY. W: CHRIS DOWNEY. Original Air Date: 29 July 2009.

I occasionally see some posts on here that call what the team does to Charles Dodgson in 512: The White Rabbit Job the worst thing the team does to a mark. I have to say, objectively, I think what they do to Eddie Maranjian in this episode is much worse. Of course, Dodgson is a good person, and Eddie is a crook, but still. Objectively? This episode is more evil.

Anyway, this episode has some fantastic moments that I adore a whole lot. I love Eliot and Hardison as cops, Sophie's act is absolutely amazing, and I have a super soft spot for both Nate teaching Parker what he is doing, and also Eliot and his side quest of helping Randy.

I am so incredibly fond of all these little moments where Parker's eventual role of Mastermind is already being planted. She always asks Nate questions, if she doesn't have a part to play in the con, she is with Nate, learning. She says it in the pilot episode already: "I'm really good at one thing, only one thing, that's it. But you, you know other things, and I can't stop doing my one thing, can't retire." And then she does her best to learn the other things Nate knows. This episode particularly, how Nate explains to her how NLP works, that what he is selling is fear. Nate is so patient with her, too. I love them both so very much.

Eliot's side quest with Randy and his abusive dad is an absolutely excellent addition to this episode. Especially after the previous Eliot-centric episode, this small thing just goes to show that, at their core, these are good people. Yes, they are criminals, the lot of them. But they are not bad people. Things like this just make me think that, it had to have been this exact combination of people Dubenich put together. Any other thief, any other hacker, and Nate would have walked away from this alone. It had to be Parker, Hardison and Eliot for this to work exactly as it did. And Eliot looking out for Randy even though they are in the middle of a con, taking his time to make sure Bob, the U.S. Marshall goes to see Randy, is exactly something that brings this point home.

Lastly, I adore that everyone shows up at the court house when Eddie goes to find his money. He knows they all conned him, but they know no one is ever going to believe him. It's a fantastic gloat scene. And I also really love that Nate explains why this works to the others: "So, here's everything you need to know about criminal law. Every crime has two elements, Actus reus, the act itself, and mens rea, Literally "The Guilty Mind." ... Now, for escape, the prisoner has to both break out of custody and show the intent to escape. ... Which brings us back to our friend Eddie and how the brain reacts to fear. In the heat of the moment Eddie didn't ask himself a simple question, who would doubt his guilty mind?"

204: THE FAIRY GODPARENTS JOB

D: JONATHAN FRAKES. W: AMY BERG. Original Air Date: 05 August 2009.

This one was Bernie Madoff inspired, if I recall correctly, who was arrested in 2008, around the time Berg, Downey and Rogers were already bouncing ideas back and forth for this season.

There is so much to love in this episode! Where to even begin. Maybe with Parker replacing Sophie at the client meeting? Or Sophie immediately heading for both popcorn and the cookie tin after the breakup? How about Parker perching on Eliot's arm rest with her food? Nate's headmaster act? Eliot as Coach Brewer (red is a fantastic colour on him, thank you Nadine)? Hipster rich newlyweds Parker and Hardison? The return of my beloved FBI fools McSweetheart and Taggert? Taggert being McSweetheart's biggest supporter in his affection for Parker? Sophie and Widmark? The actual science-sical with all these adorable kids singing about science?

So much to love. Chock-full of greatness, this episode. Also Frakes, once again, directed the hell outta this. I love this episode so very much.

One moment that does, however, absolutely win out over everything else, is the scene at Nate's apartment after Hardison and Parker meet McSweeten and Taggert again:

Eliot: One of you two can identify the gunman, right? Hardison: Oh, yeah, sure. He stopped and let me take a picture of him as I was chasing him. Eliot: Hey, you know what, man? I've been around little kids all day. I don't need to come home and do all this crap.

That line, Mr Spencer? "I don't need to come home and do all this crap"? Home? Sir, we are four episodes into the second season, and you are already calling Nate's apartment home. Honestly, that boy has been invested into this group as a family from the moment Hardison hands him a check in the pilot episode, if not earlier. And I am very much here for all of it.

205: THE THREE DAYS OF THE HUNTER JOB

D: MARC ROSKIN. W: MELISSA GLENN & JESSICA RIEDER (GRASL). Original Air Date: 12 August 2009.

This is another one of those episodes which, when I think about it, I am not entirely into, but then when I watch it, I always love it. It's a brilliant episode, but the mark rubs me in all the wrong ways and I think that's why my general reaction to this episode in theory is mostly "ew". Which I think is kind of the point, as well.

There is much to love in this episode, though. Sophie being Nate in this one, Nate being very wary of this concept and also having difficulties letting someone else take control ("If you don't mind, I would still do the 'Hardison, run it' thing" Nathan you precious little man, I love you so much). I think it's so nicely done. I mean Sophie has run cons before -- she was the Mastermind behind the First David Job, and she runs their con in the Second David Job as well -- but then she was confident, now she is going through things, on the brink of rediscovering herself for who she is. And of course, it bites her in the ass a little bit.

I absolutely adore Conspiracy Nut Hardison and his fantastic apartment. Set Design did a magnificent job here. I am so fond of Parker asking Eliot about the different things -- the council, the moon landing, Loch Ness monster -- and also very much the bit at the end where he and Hardison answer Parker's questions while he prepares food. That ending bit overall is just absolutely excellent and I love it with my whole heart. Eliot cooking for all of them in Nate's kitchen, giving Parker stuff to try, while Hardison sits there and sips his orange soda out of a wine glass. Meanwhile Nate pouring wine for Sophie, and then going over to her to make sure she is alright. For his slightly more sadistic streak in this season, Nate is so good with Sophie here. And honestly I think this conversation here is one of the reasons why Sophie feels able to leave them for a while. It is Nate's reassurance of "Whatever you need, I'm here for you" that lets her take this leave of absence.

206: THE TOP HAT JOB

D: PETER O'FALLON. W: M. SCOTT VEACH & CHRISTINE BOYLAN. Original Air Date: 19 August 2009.

I adore this episode! The fantastic Veach and Boylan on the keyboard for this one (who, I've had to find out, are both tangentially involved with my latest hyperfixation, SHADOW AND BONE -- Veach having written my favourite episode, and Boylan being married to the showrunner), which is just lovely, because they are both excellent.

First off, I would like to, once again, give all my love to Nadine Haders for that Pizza Guy outfit she put Kane in for the recon sequence. A+ costuming, thank you Nadine.

This episode has so many excellent comedic beats and a wonderful many Hardison/Eliot moments. Sophie trying to set up Nate with their client is absolutely hysterical -- especially considering that she had just been broken up with and had been urging Nate to figure out what it is that is between them since day one. I especially love her attempt at finding things Nate has in common with Jameson: "She's a scientist. And well, you're a bit nerdy, aren't you? ... And food, she works with food. Well, you eat, don't you?" Like, girl, what are you trying to do here, really?

I absolutely adore Hardison and Eliot trying to get into the server room so Hardison can access the data they are trying to get before anyone can get rid of it. Eliot hooking Parker's rope to Hardison's belt, Eliot's complete awe at Hardison's ability to remote access their mark's phone ("You can do that?" Eliot, honey, he can do so much more), the two of them wedged underneath the desk, and then, of course, Eliot's huge smile when Hardison hacks the scanner at the door with the help of his gummy frogs. I love these boys together so much, and this episode has given me so many great moments.

I am also incredibly fond of Nate's magician act. That is a brilliant role and it suits him so well. And I love how genuinely enthusiastic he is about magic.

207: THE TWO LIVE CREW JOB

D: DEAN DEVLIN. W: JOHN ROGERS & AMY BERG. Original Air Date: 26 August 2009.

This is an absolutely brilliant episode for so many different reasons. Let me get two things out of the way straight off the bat: 1) Where do I address my "Chaos For Leverage: Redemption" campaign to? and 2) Where do I address my "Apollo Robbins For Leverage: Redemption" campaign to? I want both of them back desperately!

Of course, this episode is important as a major stepping stone in Sophie's character arc. Because of Chaos and his bomb, she has to kill off one of her aliases which is the last thing that then leads to her taking a leave of absence to figure out who she is and who she wants to be. That scene in her apartment with the bomb is also just an excellent moment for the team as a family. The care with which everyone interacts with Sophie, Parker's instant pudding hack, Eliot's instructions on how defuse this situation, Sophie's immediate shift into protector mode once it becomes clear that the only real solution is to run and telling everyone to leave immediately, Nate staying behind and even when Sophie tells him to leave, waiting for her by the apartment door -- they care for each other so much.

I also really love the con-off with Starke's crew. It is so nice to see how similar yet different he and Nate are, and the same goes for the other crew members. I adore their individual confrontations a lot. Eliot's non-fight fight with Mikel Dayan, Parker's thief-off with Apollo, Hardison and Chaos' baby monitor fight. It just really highlights who our beloved characters are and what makes them them, now that we see them, metaphorically, in front of their mirror.

And then, of course, the actual heist is also just amazing. I adore that Starke chooses Nate as his alias to gain access, it is such a great move. Parker and Apollo talking in the ventilation shaft about birds is also just so lovely. And as an admirer of Eliot's arms, I am also very fond of his fight with Mikel. Good choices have been made, I appreciate all of them. The reveal at the end is also absolutely amazing. To beat them they had to save them? Brilliant.

Lastly, of course, Sophie's goodbye at the graveyard with Nate. What a spectacular moment. Also just, the visuals are so beautiful. I love the lighting here. And of course the return of Andy Lange's song, which is just perfect. I am so happy that this is the journey they decided to give Sophie when it became clear that Gina would not be able to be in the full seasons due to her pregnancy. They accommodated her so beautifully and gave Sophie such an amazing moment of character growth. This is why I love this show and the people who made it so much. All my love, to all of them.

208: THE ICE MAN JOB

D: JEREMIAH CHECHIK. W: CHRISTINE BOYLAN. Original Air Date: 02 September 2009.

We love The Ice Man Job! Another fantastic episode by one Christine Boylan who we love in this house. Our very first episode without Sophie being there, and it's a great one. I absolutely adore how they worked in moments with our favourite grifter in a way that so wonderfully accommodates Gina's pregnancy.

I absolutely adore the moments where all of them eventually end up calling Sophie. Parker, hiding underneath the bar after Nate tells her she'll be the grifter in this one, calling her mom Sophie in a panic without wanting the others to know, but still needing her advice and missing her so much. Then Eliot, calling to complain to his mom Sophie about Hardison going overboard again with the grift, needing the knowledge that his concerns are being heard and aren't unfounded, needs to hear the other protector of the family acknowledge his rightful fear that things will go sideways. And of course also Hardison, calling mom Sophie so she can pick him up from the party help him out of the mess he's made, hoping against all hope that she'll be able to help without having to involve Nate. The others both had the luxury to ask Sophie not to tell Nate -- Hardison had no other choice but to let her call it in. Lastly, Nate too, at the end, calling his wife Sophie. And honestly, I love that Sophie drops her phone into her drink after the call, because Nate is the only one not giving her what she wants to hear. The kids, all of them, called with an "I need you" and that is the one thing Nate doesn't give her.

There are many other things in this episode that I love very much. The opening briefing, Parker feeling alone on the big empty couch, trying to sit next to Eliot, but he makes her move. Nate's big DadTM moment of "Eliot, can you please sit next to Parker" and Eliot's very long-suffering oldest child answer "No! I'm sitting here now."

Then of course Eliot and Hardison's two moments -- Eliot telling Hardison "I ain't bailing your ass out" and then when he eventually does anyway, Hardison's smug joy, forcing Eliot to sort-of-hug him back at McRory's. Eliot's unsuccessful attempt to make him helping Hardison a decision forced onto him by Parker, and Parker refusing to accept the "blame" immediately. Their whole dynamic this episode is just so good. Neither Eliot nor Parker being happy with Hardison in this role (Parker's refusal to ride with him in the Ferrari), Eliot proudly watching Parker do her thing over the security camera ("Stuck it!").

Lots of love also to Pasha Lychnikoff as our main Russian goon, who is just fantastic here, our much beloved Lt. Patrick Bonanno, and also Nadine Haders for so many amazing looks, especially on Eliot.

209: THE LOST HEIR JOB

D: PETER WINTHER. W: CHRIS DOWNEY. Original Air Date: 09 September 2009.

Court-room episode, which means we have our friend Chris Downey on the keys here, and he gave us an absolutely excellent introduction for Tara Cole played by the lovely Jeri Ryan. Honestly, the more often I watch this episode, the better it gets. Tara is just so good.

Highlights of this episode include: Sophie's immediate "who died?!" when Nate shows up at her apartment in London, Hardison playing "Where is Waldo Ford," Hardison and Eliot in prison, the first appearance of Nate's lawyer alias Jimmy Papadokalis who wears brilliantly loud and obnoxious suits in outrageous colour-combinations, Hardison stalling Blanchard at court security with his keys, Nate's reveal of Ruth as Kimball's daughter (I am fascinated that he completely drops the character here -- he is just Nate now), and of course, the reveal of Tara at the end.

Honestly, this is such a magnificent episode to introduce Tara's character. We have just watched the team scramble and fuck up without Sophie, and then their next job gets more complicated because of this random lawyer who shows up. And she's so righteous and law-abiding and absolutely not someone they should be taking with them on their job. And Tara plays it perfectly. Her honest try at getting Orson to talk to them, her confusion about her "dogs", her excited smile when she gets to con Blanchard and be a bit dishonest -- it is so good. And then we get that complete 180° when the team finds her in Nate's apartment. Not just visually, but the personality. Her voice drops a bit too. Jeri fucking rocked this introduction. The reveal is so damn good.

210: THE RUNWAY JOB

D: MARC ROSKIN. W: ALBERT KIM. Original Air Date: 13 January 2010.

I have zero interest in fashion but I honest to God love every single one of these characters at fashion week. Fashion!Eliot is absolutely fantastical and I love him. Julien, my beloved. Fashion!Parker is very cute with her braid and even before she gets the model makeover she outshines every single other person at the event. Fashion!Hardison is surprisingly understated but I dig it. Tara as Caprina is also just excellent. And I absolutely, un-ironically adore Fashion!Nate. Jacques is such a character. Nate exchanged the usual "obnoxious and greasy" with "gay," slapped some would-be-French that sounds like German on top of it, and called it a character. And I love it.

I also very much love the three video calls with Sophie in this episode. The kids calling in the beginning, complaining about Tara. I absolutely adore both the "she's hot" moment and Eliot's "...and all the way to Europe?" when Sophie says Nate lets what is good for him walk out the door. Parker's little "I just miss you" before they hang up has me all the way up in my emotions every damn time. Tara calling Sophie to complain about Nate is also just excellent. The whole bit with Nate's "I'm sexy because I'm broken" thing is just *chef's kiss*. And of course Nate's call at the end. I love that Sophie hangs up on him, it is so fair, it is absolutely justified. And I think he knows that too.

So many great other moments too -- Hardison's Steven Seagal comment about Eliot's clothes, Nate's "Julien, sweetheart" and Eliot's little clap before taking the money, Nate and Parker at the mark's house, Eliot and Tara vs the Triads, Eliot and Parker at fashion week together ("It's a fashion show, not Thieves'R'Us"), and of course Tara's "For what it's worth, Sophie was right. You guys are the best I've ever seen ... But no one in the world, is as good as you think you are."

211: THE BOTTLE JOB

D: JONATHAN FRAKES. W: CHRISTINE BOYLAN. Original Air Date: 20 January 2010.

This episode has got to be one of my favourites, if I were forced to chose some. I love a bottle episode, and this one is just magnificent. Excellent client, great mark, fantastic additional characters, wonderful episode for the team. All around just, so good. Not surprising if Frakes and Boylan are at the wheel together, of course.

The addition of Cora is so lovely. I would have loved to see more of her, to be honest. She is such a great character. I love what her presence does to who we see Nate as. I adore when characters get to show new sides of themselves, it's so nice. Also, Nate's comment to Eliot about him not wanting Eliot to like Cora because she's like his niece? Most excellent.

I adore our three police officers too. Mickey, Danny and Johnny are such great additions. I really liked them. How they just went with whatever Nate was planning and in the end decided to just pretend none of this ever happened, it's just so good.

Doyle and the Liams as our villains of the week are also just fantastic. Also I just love Irish accents, it sounds so good. I love to hear it.

Other highlights of this episode include: Tara's "I'm Trish and I'm lonely", the kids going for their individual emergency funds stashed in Nate's place (they are all so fantastically in character, I love it), Nate using his dad's name as his alias, everyone stopping to see if Nate is going to succumb to the booze again, Hardison's excitement about pulling off the wire in under 2h, Hardison faking the weather, Eliot and Parker on safe duty. Also, rewatching this episode, I am absolutely 100% convinced that what Eliot is doing to distract the Liams from Tara conning Doyle, absolutely categorises as flirting. The way he throws that dart at the board and then buys them beer? Mr Spencer, sir, you are flirting with these guys.

212: THE ZANZIBAR MARKETPLACE JOB

D: JEREMIAH CHECHIK. W: MELISSA GLENN & JESSICA RIEDER (GRASL). Original Air Date: 27 January 2010.

The wonder twins with yet another magnificent episode. No surprises here. We have not just the return of Maggie but also of Sterling! We love this!!! (Seriously, I want both of them back in the reboot. I don't care that they're most closely tied to Nate. Bring them back.)

This episode has so many absolutely excellent moments as well. I love the opening sequence in the bar, with them going over possible next clients together, Nate kicking Eliot for flirting with the bartender, and then of course also Sterling walking in. The interaction Nate and Eliot have here is just fantastic.

Sterling: *walks in* Nate: Eliot, I'm gonna ask you not do do anything violent. Eliot: Wha-what are you talking about? I only use violence as an appropriate response. Sterling: Hello, Nate. Eliot: *responds appropriately*

And to think that Sterling only gets beat up here because Mark Sheppard's son was visiting the set that day and wanted to see his dad get beat up by Eliot. We stan one Sheppard Jr.

I very much love the scene where Nate and Sterling go over what they have on Lundy, and then Parker interrupting them out of nowhere, just sitting there on the counter, like she's been there forever (which she probably has). Also just, fantastic clothes on Parker, thank you Nadine. Maggie showing up here is of course also brilliant and I am very fond of Parker making Maggie a fugitive bag. It is so completely adorable. I love my girl so much.

Another favourite moment is, of course, Tara and Eliot getting Chernov to tell them where the sale of the Fabergé egg will take place. Tara not saying a damn thing, Eliot grumpily doing what Tara tells him to ("Do that thing with your eyes that scares people" / "What -- I don't know what you're talking about"), Chernov's complete unease about this whole entire situation, and then of course Tara and Eliot's other interaction:

Tara: What we imagine is always so much better than reality. Eliot, with the tiniest voice possible: Like love? Tara: *just stares at him, confused*

Just, *chef's kiss* this scene.

The scenes in the embassy are also just excellent. Tara and Nate pretending to be a couple, Nate's inability to deal with the idea of Maggie and Alexander, Maggie and Tara hysterically giggling while talking about Nate, Sterling pretending to be drunk (and incredibly gay) to get Parker access to the egg room -- brilliance, all the way through.

I adore Eliot taking charge of the situation once it becomes clear that Maggie and Nate have been taken hostage. Parker doing her magic and switching the bomb with the empty briefcase in the elevators is beautiful. Maggie kissing Nate instead of Lundy in what could have been their final moment and regretting it instantly the moment Parker shows up is excellent.

And the final scene back at McRory's is also just wonderful. The kids watching the news about Sterling with Tara ("I hate this guy" / "Now, you're part of the team"), and Nate talking with Maggie. I adore Maggie in this scene so much. Her and Nate's relationship is so lovely. We know Sophie understands how Nate ticks, but Maggie knows him so well too, still.

213: THE FUTURE JOB

D: MARC ROSKIN. W: CHRIS DOWNEY & AMY BERG. Original Air Date: 03 February 2010.

This episode is so good for so many reasons. First off, I adore Luke Perry (I'm still sad about him) even if he plays creeps like Rand in most everything I've seen him in. He was just so good. Second, Medium Tara is probably my favourite role of hers. It's a lot softer than many of the other characters she's done, and I love it. Also the costuming is just excellent.

But I want to talk about Parker most of all. The scene where Rand cold reads her is so well done. Riesgraf knocked it out of the park here. Also, I love how Nate, as soon as Rand starts approaching and doing his act, barely ever takes his eyes off her. He occasionally glances at Rand, but his attention is on Parker at all times. And it just makes me feel things.

The team coming back to Nate's to find Parker sitting on the floor in front of the couch, crying also makes me super emo. They are all so very careful with her here. Even Tara, who hasn't been with them for that long. I quite like how Eliot and Hardison choose to sit a bit away, giving her space, and Nate carefully approaches and sits closest to her. They are all so good with her here, I love them all so much. And I absolutely adore this part of the conversation:

Tara: So what do we do now? Parker: Cut off his arms. And his head. Yeah. I wanna kill him. Can we make that happen? Eliot: Yeah, I can...I mean, I could...

Also earlier, after Tara acknowledges that Rand is good at what he does, Hardison says "He should be shot." I adore how both our boys would not hesitate to end this man for hurting Parker like this. That's their girl and he went too damn far. And even though Nate suggests a way of retaliation that is less final, he isn't above hurting the man either. Because that's his girl, too:

Hardison: Nate had me rig the table with a mild electrical current. Eliot: You electrocuted him? Nate, smugly: Yes, I did. It helped sell the bit. Parker: I approve. Nate: Thanks, Parker. Eliot: No, her agreeing with you is not a good thing. Nate, whispering to Parker: Thanks.

And add to that the absolute joy each and every one of them have when fucking with Rand to fulfil Tara's predictions? *Chef's kiss.* Absolutely beautiful.

There is so much more absolutely fantastic content in this episode, but I just wanna point out the ending where they meet with the client again. Nate is so good with them here. The way he talks to Jodie about her baby and how she will see her late husband in the child, makes me cry every damn time. Just like Tara says, "Yeah, now I see why you do it," this is why this show is so damn good. It's because of this exactly. Because for one shining moment within so much suck and tragedy, there is goodness and a wrong that has been made right. They help people and it isn't just fleeting momentary relief. They change people's lives for the better. I love this fucking show so much.

214: THE THREE STRIKES JOB

D: DEAN DEVLIN. W: JOHN ROGERS. Original Air Date: 10 February 2010.

First half of the second finale! Patrick Bonanno my beloved! I get so sad every time he gets shot here. My man deserves better than this. I love Bonanno so damn much, man. I absolutely adore that Nate goes to see his family at the hospital. Like, this is a cop. The very opposite side of the law Nate and his people operate on. But he goes to see him anyway, because this is their cop. And I love that Bonanno's wife recognises Nate's name. "He wanted to buy you a drink. And then arrest you." That's just so good.

I also absolutely love Richard Kind as Brad Culpepper, the corrupt mayor. I would love to see him back in the reboot, but I doubt there'd be any reasonable explanation why on earth they'd have to see this particular mayor again. I just think Richard Kind is an absolutely fantastic actor.

Anyway, favourite moments. Hardison and Eliot at Bonanno's house is beautiful. I am so fond of how Hardison deals with law enforcement while impersonating law enforcement. He tears them down and builds them back up again, every single time. And I adore how Eliot just smiles at his antics. He crawls around on that carpet with the young cop and Eliot just stands there and smiles. I love them, guys. I really do. Parker pretending to be Brad's pregnant lover with Tara's help is also just most excellent.

And of course: Roy Chappell. Baseball Eliot, my most beloved. There is so much to love about this whole concept. Eliot's reluctance at first because he doesn't like baseball. The discovery that baseball is actually something cool and something he is good at. His absolute childlike joy at the energy drink commercial Hardison made him. His damn hair during the actual game. The sandwich! The enthusiasm about the sandwich. Hardison admitting that the sandwich thing is cool.

I also absolutely love Hardison and Parker as Beavers Fans. The badly photoshopped picture of Dean Devlin and John Rogers as the radio hosts makes me smile so much. So does hearing their voices on the show. Both Hardison and Parker's phone calls to them are also brilliant. Parker speaking Spanish? Marvelous. The two of them demonstrating the Beavers leaving? *Chef's kiss.*

The final showdown with Brad and then the FBI is also just most excellent. Nate going ballistic on Brad because of Bonanno. Hardison and Lucille. Parker giving Lucille a little kiss before they send her to explode as a distraction. Hardison quoting Spock to say goodbye to Lucille. Hardison being pissed at Nate about Lucille. And of course: Jim Sterling, Interpol. The bastard. I love him.

215: THE MALTESE FALCON JOB

D: DEAN DEVLIN. W: JOHN ROGERS. Original Air Date: 17 February 2010.

Second half of second finale! And it's a good one, too. This show has absolutely brilliant finales, lemme tell you.

What do we love about this episode? MUCH. Tara's naked bit is excellent. Eliot and Parker sharing a look after watching Tara's naked bit is even better. Parker turning on the porn channels on the hotel tv is hilarious. Eliot talking to the receptionist about the gym is hysterical ("Ah, the fitness spa. Isn't the Zen Steam Garden divine?" / "Yeah....delicious").

Nate on stairs vs Sterling in elevator is probably the pettiest thing I have ever watched on television and it is absolutely amazing. I don't think anything can ever top this as pettiest moment. It is just so good.

Sterling, of course, is always great fun. I love that he has his own little villain theme that announces him before he even enters the screen. Love a good villain theme. And I adore his moment with FBI Bob outside Brad's hotel room.

Sterling: Name's Bob, right? Bob: Yes, sir. Sterling: You've been here the whole time, Bob? Bob: Yes, sir. Sterling: And nobody's gone in or out, Bob? Bob: No, sir. Sterling: Then would you mind explaining, where the HELL THE MAYOR IS?!

Absolutely perfect.

Nate going back to his place always has me all up in my emotions. Also, I think Sterling here absolutely believes that what he is offering Nate, is good for him. That he can save him from himself or something. They were something like friends at some point, after all. And of course, Nate calling Sophie. She is, of course, unbeknownst to him, already on the way to save his ass. But he calls her and finally tells her exactly what she wanted to hear at the end of The Ice Man Job: "I need you. Not the team, me." Sir. I am emo about you.

And then of course the final con and the reveal of Sophie's return. I absolutely love that Parker's first reaction to Tara possibly betraying them was to try and throw her off the roof. That's my girl (I love Tara, but that was fair). Also just, if you pay attention on the boat scenes, you can see Sophie from as early as Kadjic hearing Nate's offer and then leading Nate and Eliot below deck. If you can pick out her hair and know the colour of her coat from the scene in the helicopter, you know that she is there. And then, below deck, you can see her so many times -- at one point essentially back to back with Nate -- before any of the characters know she's there. And can I just say, I absolutely love Nate's completely shocked face when he hears her voice. Those comedically big eyes are just excellent.

Everyone seeing Sophie again is done so well. Hardison and Eliot's confused "Sophie?" when she walks past. Eliot winking at Sophie after they free Nate. Parker hugging her immediately once her and Tara arrive on the ship. Hardison putting his hand on the small of her back as he passes by her to go down the stairs. I just love them all so much.

And lastly of course, the reveal of the plan, Nate cuffing himself to the railing and making Sterling leave his family alone. What Nate says to them always makes me so emo too: "You guys are the most honourable people I have ever met in my life. You have become my family, my only family. And I will never forget that." John Rogers, sir, we need to have some words once I get this lake out of my eyes. And I obviously can't not mention the kiss. Finally, finally Nate gets his shit together. And she slaps him and it is perfect. And then they leave and he sits down and bleeds and Sterling, for a moment, is genuinely concerned about Nate as a person and not merely about Nate as his only way to nail Kadjic.

Bob: Who the hell is this guy? Sterling: I have no idea. Nate: My name is Nate Ford. And I'm a thief.

Yes. Yes you are, you magnificent bastard.

[image taken from the electricnow website]

#tv blogging #rewatch blogging #leverage #leverage tnt #nate ford #tim hutton #sophie devereaux #gina bellman #eliot spencer #christian kane #alec hardison #aldis hodge #parker #beth riesgraf #john rogers #the beantown bailout job #the tap out job #the order 23 job #the fairy godparents job #the three days of the hunter job #the top hat job #the two live crew job #the ice man job #the lost heir job #the runway job #the bottle job #the zanzibar market place job #the future job #the three strikes job #the maltese falcon job

[cheeseanonioncrisps]

Honestly, I love this meme because it's useful when people start claiming that stuff like "boomer" is a slur (no it isn't, primarily because I've never heard it used as an insult on its own, and because people only started saying it was a slur when the phrase "okay boomer" went viral. Like, it seems pretty clear that it's the dismissive "okay" that people actually have a problem with— they're not crying into their pillows at night because somebody called them "boomer"), but can we just agree that this is the stupidest logic ever?

Like, by this logic, it was totally fine when everybody and their mother was using the n-word without repercussions until about thirty or forty years ago. Hell, my Mum remembers going with her Mum to buy "n-word brown" (only they didn't use 'n-word', which according to this was totally fine because everyone was doing it at the time) fabric for her school uniform.

And, to be clear, this wasn't my grandmother being racist. This was the school sending home a letter saying "make sure you get that n-word brown fabric for your uniform" and then the two of them going to the shop to buy the fabric that was listed specifically on the sign as being that colour. Because this was the sixties or seventies and I cannot express how totally normalised this sort of thing was.

It's why people censor Enid Blyton books now, because every time she gave a character a black dog as a pet she would insist on giving it one of the most common dog names for the era, which I'm sure you can probably guess.

But, by this logic, that was all totally fine. Using the word directly to a black person was probably fine as well, since I'm sure nobody had any particular qualms about doing that back then. It's arguably still fine today, so long as you're at a clan rally, or any other setting that's sufficiently racist enough that nobody would censor the word.

And it's stupid because censoring the word isn't just a reflection of how bad it makes people feel, it's a reflection of how much society cares (about this specific issue, to be clear. It absolutely doesn't mean that society necessarily gives a shit about the group in question beyond not using this specific word).

The n-word didn't just magically become bad a few short decades ago. It's just that society went "hey, this word has been used so badly that a lot of people have actual trauma attached to it. Maybe using it in casual conversation makes us dickheads" and stopped using it. It was still bad before, people just didn't care.

I mean, I hear the word "r*tard" used casually in conversation but, as I have just aptly demonstrated, people in the disabled community usually choose to censor at least one letter, because we're more aware of its use as a slur. Hell, I used it to refer to myself in a poem about my disability recently, and even in that context of reclaiming the term, my first instinct was to censor it on the page. Is it as bad (or, I guess, almost as bad? Since we're only censoring one letter, rather than all but one of them?) in that context but not in others?

People will usually censor the f-slur in all situations, except for that one line in Fairytale of New York, in which case a lot of people will actually freak out if you censor it, because people do care about not using that word, but they don't care as much as they do about their favourite Christmas song. But, again, that doesn't mean that the word magically becomes okay in that context.

And yeah, I would not be surprised there are some communities out there where the word John is using is censored. Because 'can I say it on TV without being fired' is a really bollocks way to decide whether or not a word is bad.

So yeah, I like the meme, I'll continue to reblog posts using it, but I really kinda hate that the origin of it was "making fun of people with disabilities is fine, because otherwise I'd get in trouble for doing so!"

#yeah #i like john mulaney #to be clear #but this is not my favourite bit of his #slurs #racism #tw racism #ableism #tw ableism #john mulaney #n-word meme #meme #you ever make a post and just think #'wow. waking up tomorrow and seeing how people responded to this is going to be *fun*' #'i'm sure that their responses will be calm and their counterarguments nuanced and respectful' #today i take on both right wing people #and john mulaney fans #but still this has been bugging me for a while #snd what else am I to be doing at 3am the night before I have to get up early to visit my grandparents in Wales? #homophobia #tw homophobia

[mentally-moderato]

1, 7, 10!

1. what song makes you feel better?

Oh this is a surprisingly tricky one! I don't know if there's necessarily any one single song, because there isn't necessarily any one situation warranting feeling better. But! A lot of Classical music (specifically the Romantic period), as well as Joe Hisaishi's work tends to hit the spot when generally out-of-sorts, but in the past I've used some metal works (shoutout to GY!BE and especially F#A#∞) as well as ambient pieces (particularly dark ambient, drones and open sounds and such) as sort of catharsis and emotional numbing, though not for a while now. And sometimes you just gotta folk music (selected works of John Denver and Simon & Garfunkel having their own associations for me, independent of pop cultural items and memes)! Generally, I tend to go for a little slower, with speed and energy as accents.

All that said! The opening of Tchaikovsky's Serenade for Strings mvmt. 1 deserves its own special mention, as well as the opening chords for Elgar's Cello Concerto :]

7. what color brings you peace?

Hm, if I had to pick just one I think I'd go for a lighter grey; the sky on a brisk day before it drizzles with a promise of heavier rain in the evening, or fog in the morning before there are cars on the road, or moonlight on snow in darkness. Goes well with blues and greens and other calming colours, but not necessarily out of place with warmer colours either, and easy on the eyes.

10. what's something you're excited for?

Hmm. Generally-speaking, travelling again, as well as going out on a more regular basis again (one-off trips aside; I'm meaning things like weekly fencing again) due to still having some trepidation and general concerns.

More specifically, uh...I think something might be happening this summer? I'll have to talk with some people more though, so so far it's all in that "vague excitement about the possibility of a thing" sense haha xD But overall there's no like one single event or anything particularly at the moment!

#ask meme #persephonaae #lookit me here making complicated answers out of simple questions hahaha xD

[not-poignant]

I don't know if someone asked this ever before but, do you make a difference between the types of magic in the fae world? Like between black and white mages, neutrals and that? Or is it just magic?? Are the robes' color a standard issue or idk?? Thank you and I hope you don't mind my rambling! You mentioned starting to play D&D and I thought about Dragonlance and all the Mage stuff...

Hiya anon!

There are different types of magic in the fae world, though the boundaries between them aren’t necessarily hard and fast. Actually one of the best descriptions comes in The Wildness Within, when the Raven Prince tests Gwyn to see what aptitudes he has in magic, and Gwyn goes to each ‘section’ and reveals whether he has a strength or a weakness in what he’s presented with.

You can see in that chapter that there are clearly different classes of magic, and that Mages have strengths, as opposed to being like ‘catchall talented.’

Similarly, we know from other Fae Tales stories (usually AUs though), that there are also ‘types’ of healer. (And healing for many fae is a form of magic and herbcraft). We know from The Court of Five Thrones that Aleutia is officially trained as a ‘green healer’ but because of her specialisation in crisis and emergency healing, she now considers herself a ‘red healer.’ So there are also formal categories for healers that decide to sort of get ‘accredited’ for what they do. The colours for healers represent the kind of healing they do, green healers focus on herbcraft / wortcunning, for example.

When it comes to the colours on the harlequin robes of Mages from the School of the Staff however, things get more personal. The Mages choose the colours themselves during an initiation where they go past the ego into the deep self, so they’re not standardised. (It also means a lot of Mages don’t necessarily end up with the colours their ego wanted). Three Mages that have white on their robes may have the white to represent three different things, light, or purity, or death, or simplicity, or something else. Olphix has yellow on his robes and it’s connected to fire, we know from The Court of Five Thrones that Taronis also has yellow on his robes, but it’s connected to light, and when we met the Ratcatcher in The Court of Five Thrones he has yellow on his robe but that’s connected to song and music magic.

So while there are types and classes of magic (i.e. we know Gwyn has strength in charms, specifically, since he can do that organically without any training at all), the colours picked for robes aren’t standardised at all. For Mages, it’s instinctive. If they feel a colour is best to strengthen a particular kind of magic, they’ll choose that colour (sort of, the colour is kind of chosen for them via an initiation process, but it’s still not a situation where someone else chooses the colour for them), and no one can choose it for them. So their robes essentially represent the three branches or strands of music they chose to specialise in.

There are no ‘black’ and ‘white’ Mages, tbh I think the Mages in the fae realm would kind of laugh at the idea of it. There are Unseelie Mages who are capable of great healing (Fenwrel), and there are Seelie Mages who are capable of great destruction (Davix). There’s no fixed morality in the fae realm outside of being Seelie and Unseelie and hell, there’s no fixed morality within the Seelie and Unseelie either, though I think some of them would like a fixed morality, that’s something humans tend to get hung up on.

Imho, I remember back when I was a pagan like in the late 90s early 00s, and a lot of people were obsessed with calling themselves ‘white witches’ or ‘grey witches’ or whatever (probably because of a lot of fantasy books that liked rigid magical rules and like, it sounds pretty awesome lol) and I had very little patience with it because it seemed like a lot of people were trying to differentiate themselves from ‘bad witches’ of the past, not really understanding that a lot of those witches of the past weren’t bad, they were just demonised by Christianity - and that in almost all of those kinds of practices that have magic (in real life) there is no ‘white’ and there is no ‘black.’ So I was determined to set up a magical system that really had nothing to do with that fixed system at all. There is no absolute good or absolute evil inherent to the fae realm, it’s just…nope. That’s not a thing. *wipes forehead in relief*

Tl;dr: So yes, classes of magic - sure. The colours of the diamonds on the motley robes mean something but it’s personal. Different types of healer? Absolutely. White and black and grey / neutral magic? Hell no.

#asks and answers #fae tales verse #fae tales #fae tales worldbuiding #/////. dragonlance was so hugely popular when i was in highschool #but i was too busy reading like #Feist and Gemmell and Eddings and Jacques to get around to it #i dislike rigid moral systems #but that just means whenever there's a neutral option #or a chaotic option #i'm more likely to take that lol #administrator Gwyn wants this in the queue #Anonymous