#Sita Sings the

[parlerenfleurs]

A beautiful song from the movie Sita sings the blues

Sita, a Hindu goddess and wife of Rama, was abducted and kept captive by an enemy for some time. When he came to deliver her and kill the guy, Rama asked her to undergo the trial by fire (Agni Pariksha) to prove she had remained "faithful" and was still "pure".

She did, and the flames didn't hurt her, but as for her heart after such a cruel request, it is perhaps another story

[fandomshatewomen]

It’s a shame that Sita Sings the Blues is a good movie but Nina Paley is a TERF.

so ok that was a trip.

here's a trailer for the animated movie

but here's her views on gender according to wikipedia

here's the link

mod ali

[wack-ashimself]

Even MORE movies to watch while tripping on psychedelics...

Ok, I'm going to list things I saw before but never on psychedelics (trying some of these tonight) that EVERYONE says you MUST see:

#3-Alice in Wonderland. A lot say the newer ones, but most say for the magic, the old 1950s/60s disney one.

#2-Fantasia (ORIGINAL. Some reason, the 2000 one is not as liked).

#1 (I hate saying this cuz of hollywood, but people keep saying they lost their MINDS seeing this tripping. Like it CHANGED THEIR LIVES): Fucking Avatar (so safe to say the sequel will prob be up there too).

Movies I have seen (as a reminder cuz the OP of this is old):

<most I was IN the movie or interacted with me>

-Big Lebowski (I was the DUDE)

-Enter the void (took me THREE times to get thru. It's INTENSE visually and emotionally).

-Hitchhikers guide to the galaxy (the most fun watching a movie tripping balls for me. But I loved the books and movie already. So a good idea may be start with a FAVORITE movie <visually or philosophically> that you haven't seen in at least a decade)

-Under the skin (again, another visually hard one to get thru. It's...freaky watching people melt)

And before I continue, again, FUCK imdb. The #1 thing when looking for stuff to watch when tripping is is it fun to watch? Or at minimum, help you to grow? Cuz a lot of their movies to watch while tripping are movies ABOUT tripping, but most are fucking horror or thriller movies. Almost as if to scare you away from them. Enter the void and under the skin show death, in detail, but it's not meant to horrify, just remind you of the human condition, how fragile we are, etc.......tho the end of under the skin still freaks me out.

So here's NEW recommendations that I did not find mostly anywhere. Here's a link to the first.

<Do not forget the 1970s foreign film 'stalker' is on youtube too, and it is a philosophical masterpiece. I only watched sober cuz of the subtitles>

Another is Fantastic Fungi but that's kinda a documentary. Same with a lot of these visual documentaries like planet earth, and Baraka.

Koyaanisqatsi, which I can not find ANYWHERE, but the wiki of it makes it sound AMAZING! 1980s time lapse art movie? Yes please. <IF YOU FIND A LINK PLEASE SHARE>

Again, I have links to almost all of these so hit me up if you need them.

But finally one I have yet to watch, and took me FOREVER to find:

Again my last post from...months (years?) ago took off, and I just wanted to make the best list of safe things (overall. I warned you many times of enter the void and under the skin) that are fun to watch or help you grow while tripping balls. Please PLEASE add anything if I haven't mentioned it (in this OR the last post). Just please nothing BIG or OBVIOUS that anyone would think to watch (I feel like a slut for mentioning avatar, but....it's on too many lists to ignore).

<like waking life, pretty animal/planet documentaries, or most animes. No shit those would be fun to watch tripping. I've just seen spirited away and howl's castle so many times, I don't think they would effect me as much. I bet space dandy would be hella fun...why'd they cancel that? No more cowboy bebop to rip off? haha.>

[doiwannaaknow]

I watched Sita ramam last weekend and somehow I'm still thinking about it???????

[whenmemorydies]

Violence and Love in Monkey Man

Dev Patel's Monkey Man has played at my mind for two weeks now. This is for reasons that I'm able to articulate and for many that I probably have not yet been able to find the words for. This post is, in part, my attempt at sorting through some of my thoughts. My tumblr is all spoilers all the time. If you don’t want that, then please don’t read on.

Violence

Like most places in the world, systemic violence is a scourge in India. Monkey Man does not shy away from this reality and depicts Hindu nationalist state violence and violence against women and gendered minorities in the country to chilling effect.

We come to see this in the brutal rape and murder of Kid's activist mother at the hands of the police, while she tries to shield her child and her land from police and state terror. We see it in the treatment of (largely femme-presenting) sex workers in the two brothels featured in the film, including one frequented by the police and political elite. We see it in the violence and ostracisation meted out against the hijra, or third gender community by individual actors and the state more broadly. We see it in the state-orchestrated razing of an entire community after the land on which it sits is declared a "holy site". We see it in the movement of people from the regions to the city after their land has been stolen and the grinding poverty they face as a result.

Unlike so many action films, none of the violence in Monkey Man occurs in a vacuum. Even Kid's original means of making money in an underground fighting ring is done against the backdrop of his forced displacement from regional India to the city - a migration pathway that many in the country have been forced to take and which is a direct result of land theft and resource extraction in the regions by local and multinational corporations as well as federal and state governments.

The truth is that so much in relation to state and societal control is enacted in painful and violent ways on the bodies of the marginalised and oppressed. And I often think about how the horror and action genres are some of the best suited to speak about systemic injustice because of their capacity to make that violence uncompromisingly visible (one recent example is Mike Flanagan’s Midnight Mass which depicted the bloody fallout of the Christian missionary/colonial project in vivid crimson, splashed all over a non-descript maritime town in present-day America). The violence in Monkey Man is no different.

While Kid's realisation of the interconnectedness and heavy hand of the state not just in the violence experienced by his mother, but also by the hijra, and by sex workers like Sita comes later in the movie, we as the audience are given this insight earlier. Recall Kid pointing out to Sita that her tattoo is of a koel, not a sparrow as originally misidentified by the Australian client sexually assaulting her minutes earlier in the film.

Kid goes on to say that he grew up in the forest and woke up to koels singing everyday. Its the longest conversation that the two have but in those brief words, we understand that Sita too has likely been displaced to the city from the regions, probably under very similar circumstances to Kid. The way this displacement maps itself onto her body is distinctive to how it does so for Kid, with gender playing a large role in this.

Other factors like caste, class and religion also impact on how the characters in this film experience or perpetrate violence. I would write more on these intersections but then this post is going to get more unwieldy than it already is.

I will say though, that in India, where fascist Hindu nationalism is being used by government to harm minority communities, steal land and secure populist votes, Patel makes a distinction between revelatory and weaponised faith. Kid is raised in peace by his mother with the former, but as an adult he lives in a world where the latter has taken hold and is being used by those in power to shore up more of that power for themselves.

For me - as the descendant of parents, grandparents and great grandparents who lived through anti-Tamil pogroms led by Sinhalese chauvinists weaponising Buddhism as part of their fascism in Sri Lanka, who like the rest of us, is living in an election year for Hindu nationalist Prime Minister Narendra Modi in India, and who is also frustratingly, helplessly bearing witness as the state of Israel and it’s allies conflate Zionism with Judaism in defence of the genocide being waged against Palestinians - watching this action film make the distinction between revelatory and weaponised faith was profound.

Love

Patel makes it a point in this film to show how Kid's most nourishing relationships, the ones that sustain him - indeed the ones that literally save his life - are those that he has with women and with people who don’t conform to the gender binary. In doing this, we see what Kid is fighting tooth (quite literally) and nail for throughout the film. We see what is at stake - what we stand to lose - if perpetrators get to rule without accountability.

Its also no mistake that these relationships are all tied visually to the natural world in the film: Kid's mother's deep ties to the earth, rivers, trees and roots that she leads him through as a child. Alpha and the hijra's sanctuary, the Ardhanareeshvara temple with its most sacred space being the roots of a holy tree. Sita and her koel tattoo: the memory of the forest carried on her skin while she traverses the brutal reality of the city. Patel is making a point here too. About nourishment of another kind, through our connection with the earth instead of extraction from it. The visuals in the film drive this point home, particularly when contrasted with the industrialisation and poverty of the city.

Two particular loving relationships that stood out for me were the love shared between Kid and the hijra community as well as between him and his mother.

Alpha, hijra Elder and the hijra community

Keeper of the Ardhanareeshvara Temple and hijra Elder, Alpha becomes a mother-figure to Kid after he is rescued with near-fatal injuries. It is Alpha who keeps watch over him as he recovers, helps Kid to confront the totality of his past memories which his trauma has kept fragmented, and who ultimately leads a veritable hijra army to join forces with him to assassinate some fascists.

Alpha's gentleness with Kid was so moving to see, in particular during the conversation they have about his attempt as a child to save his mother from the fire set by her rapist and murderer. That exchange moved me to tears.

Kid: I failed her.

Alpha: No. You tried to save her. You see scars. I see the courage of a child fighting to save his mother.

The wider hijra community at the temple also take Kid in and care for him during his recovery. Truly, the scenes at the temple were some of my favourite in Monkey Man. Outside of his memories of his mother, they are the only scenes where we see love, peace and joy on the faces of any of the characters in this film.

Also witness this moment of delight below as the hijra at the temple appreciate a fine ass man channelling his righteous anger and fucking up a punching bag full of rice. I note that the music during this training montage is simply stunning. Ustad Zakir Hussain's rapid fire tablas punctuated by each of Patel's landed punches and kicks and then followed by Jed Kurzel's achingly soaring instrumentals (listen to "The Kid" from the movie's score) were just *chef’s kiss*.

Another favourite moment for me was when Kid decides to go back to the underground fight ring one last time and not throw his matches (as he had been doing prior). He bets on himself and when he inevitably wins his fights, he takes the money and gives it to the hijra, ensuring that they can continue to live at the temple without fear of being evicted. We love to see a man who literally pays his rent.

Neela, his mother

Kid’s first teacher and the center of his life as a child. In almost every memory we are shown of her, Kid remembers his mother walking through a forest, sharing her ecological and religious knowledge with him and in doing so, positioning him within the wider world.

GIF by dailyflicks

We watch as he takes this understanding with him forward through the remainder of the film. His conversation as an adult with Alphonso as they drive through the city in the latter's tuk tuk is emblematic of this. "They don't even see us", Kid says of the elite who frequent the club where he has just gained employment, "they're all up there living and we are stuck in this."

His mother showed him what it was to live: to be still and in concert with the world and the Divine around you, to be loved fiercely, and to thrive as a result. This is in stark contrast to what Kid has had to learn to do in the city: to survive, to merely exist. He is never depicted resting or at home as an adult. He's always working, hustling and planning for the next thing, his next step. When he loses his village, his land and his mother as a child, Kid also inevitably loses his sense of home. It’s no coincidence that the tracks “Home” and “Mother” on the movie’s score sound almost identical.

Later at the end of the film, we see Kid close his eyes, having done what he set out to do. The last thing he sees is his mother, smiling at him in the forest. Her face is the face of God he gazes at before he succumbs to his injuries. This devotion to his mother is not just that of a child to a parent. Its also deeply tied to his Hindu faith which calls on its followers to honour the Divine Mother, the supreme feminine energy, Aathi Parashakthi, in all her manifestations including in those who mother us.

The movie ends with Kid’s deep, revelatory faith - instilled in him by his mother - and with the death of the man who weaponised that faith for power and wealth. It left all of us in the cinema seated in stunned silence even as the credits began to roll.

To describe Monkey Man as simply a revenge film does it an absolute disservice. This is not revenge. It is defence borne out of deep love for community and righteous opposition to injustice. Seeing hijra warriors dressed as Kali, the goddess of destruction, dealing death blows against fascists while spinning in the most beautiful lenghas was exhilarating (I literally screamed “YESSSSSSS!” at the screen when they arrived). Seeing Sita take out pimp and sex trafficker Queenie got me cackling and yelling “whoooop!”. Seeing Kid, a masculine character act to defend women and people outside of the gender binary, from further systemic harm without any ulterior motive was absolutely unreal to witness on the big screen. Seeing a person of faith act in deep connection to that faith without judgment against anyone but those who perpetrate harm made me feel hopeful in a way that took me by surprise. Kid acted out of love and respect. I would argue that Sita, the hijra and Kid all acted out of recognition of a shared humanity.

And at a time when folks from marginalised communities are being subjected to horrendous violence worldwide, both interpersonal and systemic, watching the oppressed take their perpetrators out…and I mean out (see: a rapist and murderer getting bludgeoned to death with a glittery high heel and a fascist, self-proclaimed “holy man” being stabbed in his third eye by the blade he hid in his own “sacred” pathankal/paduka), well, it was cathartic to see.

Am I saying violence is the answer to systemic violence? I think the answer to that question is context-specific. Non-violent resistance has a place, but it’s by necessity a performance and requires an audience. What do you do when no one’s watching? What do you do when the people who are watching are doing nothing to stop your suffering? What then? These questions are what many liberals refuse to grapple with because the answers are too uncomfortable for their polite sensibilities. But if you keep your foot on someone's neck long enough, you should expect them to fight back, by any means necessary. In Monkey Man, we have an action film where we get to witness that resistance in all its visceral glory.

[janaknandini-singh999]

Being a king was a lovely business.

But it was also a lonely business.

How can that be? If you are surrounded by all people chanting your name from the top of their lungs like a war cry?

But what if you never wanted a war?

Any of that separation, agony and a cycle encompassing all of that just going on?

"Dharma" Ram told himself, closing his eyes

When Kaikeyi exiled him, he had looked at the dawn raising his hand to the sun, as if to reach out to the new life awaiting him now.

When Dashratha wept rivers, Ram had never seen his father this vulnerable. He wanted to console him, to cry with him, but he was bound to go away for his sake.

When Kaushalya, despite being the mother and the pain she'd face by her son's separation, she had blessed Ram to go, to do what he was meant to do.

When Shurpanakha's nose was cut off by his brother, Ram had closed his eyes tighter and sighed, knowing a war was inevitable now.

Before that, however, during the exile he was quite happy. Braiding his wife's hair by the river, pausing to look at her with loving eyes as he smiled.

"What is it?" Sita asked him, smiling back "Don't worry, swami. We will be back at our home before you know it. This exile is just by default."

"My love, for me any place with you is a honeymoon. Who cares about any exile?" He paused again to tug a stray hair behind Sita's ear "Just let me cherish this moment. Who knows when it will come to pass again?"

Sita cupped Ram's face which made him tear up a little bit "Nothing can separate us. Even if the world does, you shall be the only king and God to rule my heart forever."

"A king's duty is to serve. So, let me serve you, not rule." He whispered and kissed her hands

"As a king?" Sita raised her eyebrows in amusement, grabbing an opportunity to tease her ever solemn husband.

Ram shook his head, laughing "As your righteous and rightful darling lil husband, of course" and tickled her as the sounds of their laughter blended in with the gurgling of water and singing of the birds.

"What must it feel like to be the king, dada?" Bharat had asked him with dreamy eyes once when they were kids. Only if they knew.

"Everything ever." Ram would answer in the future

"Everything one would think they'd want.

In the end only to be a martyr,

Deemed by all as a God."

"Dada, please don't leave us alone!" Bharat cried and cried, finally taking his big brother's sandals to be placed on the throne.

The heart that breaks to keep everyone else's from breaking. Did the people love the king because of who he really was or just because of the sacrifices he made for them?

But there was one who loved him for who he really was.

Hanuman

He was moved by his devotion so that the warrior monkey soon became his family

He looked up now at the fireworks that burst in the sky

Fire

He had a strange relation with it

Fire, that ran in Lakshan's veins like rage. The fire of poison that almost took him away. Ram's world would've been long gone into darkness if he had lost his brother. But Hanuman rescued him, because of which Ram would forever be indebted to him.

Fire, that danced on Hanuman's tail. With which he set ablaze the whole kingdom of gold to ashes. The arrogance of a vast emperor defeated by the piety of "Jai Shri Ram"

Fire, that devoured Raavan's body with the flaming arrow launched by Ram. A festival that would be celebrated for eons to come.

And finally, fire that Sita had to enter for the agnipariksha. Ram knew nothing could touch her wife but for a brief second, he recalled Sati's trial and the grief Mahadev went through. He gripped his heart as a tear lingered by his eye, burning as intensely as the agni Sita was so calmly going into. But she emerged unscathed and Ram finally breathed relief.

What does it feel like to finally come home?

Ram looked around

Diyas lit up houses as far as the eyes could see

An inviting, slow flame of love, not violent fire

Rangoli adorning every doorstep in welcome

He could finally see his family, his brothers as they used to be when they were young, his parents desperate to see their son back, his people longing to touch his feet, Hanuman hugging him fiercely in between sobs and lastly, his wife's eyes numb with the happiness of reunion.

"Swami" she breathed as tears rolled down her cheeks

If he had cried earlier, they would've seen him as a weak king. Hanuman would've set the world ablaze if he saw his Ram upset. So would Lakshman. And Sita would even set herself on fire, all over again, a million times in a million births if that would ensure his happiness

But now Ram let go, all the tears he was holding back since what felt like forever

So? How does it feel?

"Prem" Ram told himself, closing his teary eyes and smiling, swaying his head silently to the tune which was on everyone's lips

Ram aayenge toh angnaa sajaungi

Deep jalaake diwali main manaungi

Meri jhopdi ke bhaag

Aaj khul jaayenge

Ram aayenge

[80ssuperstar]

Hey Guys I made this Story that's based on The Ancient Indian Tale of Prince Rama and Princess Sita and the Ten Headed Demon Ravanna but I made it different with the Characters like: Prince Mordecai and Princess Samantha, Ravanna, Hanuman, Bharata, Indrajit, Manthara, Surpanakha, Queen Kaikeyi (Prince Mordecai's Jealous Stepmother)

THE STORY OF MORDECAI AND SAMANTHA:

Once upon a time, in the magnificent kingdom of Ayodhya, there lived a noble prince named Mordecai, beloved by all for his wisdom, courage, and kindness. He was the heir to the throne, destined to rule alongside his beloved wife, Princess Samantha, a woman of unparalleled beauty, grace, and compassion. Their love was the envy of all who beheld it, and their kingdom flourished under their benevolent rule.

However, their happiness was not to last, for lurking in the shadows was the wicked ten-headed demon, Ravanna, whose heart burned with jealousy and malice. Ravanna coveted Princess Samantha for himself, and he plotted to separate her from Prince Mordecai and claim her as his own.

Mordecai: "My dear Samantha, our love is like the eternal flame, burning bright amidst the darkness. Fear not, for I shall always protect you, my beloved."

Samantha: "Oh Mordecai, my heart sings with joy at your words. Together, we shall overcome any obstacle that dares to challenge our love."

One fateful day, as Prince Mordecai and Princess Samantha were taking a leisurely stroll through the enchanted forest that surrounded their kingdom, they came across a wounded deer lying in agony. Princess Samantha's compassionate heart was moved with pity, and she beseeched Prince Mordecai to help the poor creature.

Samantha: "Mordecai, look! A wounded deer lies in distress. Please, we must help it."

Mordecai: "Fear not, my dear Samantha. I shall use my magic to create a protective circle around you. As long as you stay within its bounds, no harm shall befall you."

That night, as Princess Samantha rested within the safety of the magic circle, she heard a terrible cry echoing through the forest. Believing it to be her beloved Mordecai in grave danger, she rushed to his aid, unaware of the treacherous trap that awaited her.

Samantha: "Mordecai! I hear cries of distress! I must go to him at once!"

Mordecai: "No, Samantha! Stay within the circle! It is not safe!"

But it was too late. Ravanna, with his dark magic and deceitful wiles, had disguised himself as Prince Mordecai and lured Princess Samantha out of the protective circle. Seizing her in his powerful grasp, Ravanna vanished into the depths of the forest, leaving behind naught but despair and heartache.

Ravanna: "Foolish princess, to trust in the illusion of safety. Now you are mine, and no one shall stand in my way."

Prince Mordecai, upon discovering his beloved Samantha missing, was consumed with grief and fury. Determined to rescue her from the clutches of the vile Ravanna, he embarked on a perilous journey, aided by his loyal companions, including the mighty monkey warrior Hanuman, the valiant prince Bharata, and the wise sage Vishwamitra.

Hanuman: "Fear not, Prince Mordecai, for I shall lend you my strength and my cunning. Together, we shall vanquish the foul demon Ravanna and rescue Princess Samantha from his grasp."

Bharata: "My lord, I pledge my sword and my loyalty to your cause. Let us march forth and bring justice to the wicked."

Vishwamitra: "Prince Mordecai, the path ahead is fraught with danger, but with courage and determination, you shall prevail. Trust in your heart, and victory shall be yours."

And so, Prince Mordecai and his companions embarked on a perilous quest, braving treacherous jungles, raging rivers, and dark caverns in their relentless pursuit of Ravanna and his captive, Princess Samantha.

Along the way, they encountered many trials and tribulations, including battles with Ravanna's fearsome minions, such as his son Indrajit, the demoness Surpanakha, and the wicked maid Manthara, who sought to thwart their noble quest at every turn.

Indrajit: "You dare to oppose my father, Ravanna? Prepare to face the wrath of Indrajit, the mighty warrior prince!"

Surpanakha: "Ah, Prince Mordecai, how handsome you are! Why waste your time on that insignificant princess when you could have a powerful demoness like me at your side?"

Manthara: "Princess Samantha is a threat to my mistress's ambitions. I shall do everything in my power to ensure that she remains in Ravanna's clutches forever."

But through courage, perseverance, and the power of their unwavering love, Prince Mordecai and his companions overcame every obstacle that stood in their way, drawing ever closer to their ultimate goal of rescuing Princess Samantha from the clutches of Ravanna.

At long last, after a fierce and epic battle that shook the very foundations of the earth, Prince Mordecai confronted Ravanna in his fortress atop the towering mountain of Lanka, where Princess Samantha was held captive.

Mordecai: "Ravanna, your reign of terror ends here and now! Release Princess Samantha, or face the wrath of a righteous prince!"

Ravanna: "Foolish mortal, you dare to challenge me? I am Ravanna, the Lord of Lanka, the most powerful demon in all the realms! You are no match for my might!"

But Prince Mordecai, fueled by his love for Princess Samantha and the strength of his noble heart, fought with a courage and determination that knew no bounds. With the aid of his allies and the blessings of the gods themselves, he clashed with Ravanna in a battle that shook the heavens and the earth.

In the end, it was not the strength of arms or the power of magic that determined the outcome, but the purity of Prince Mordecai's love and the righteousness of his cause. With a final, mighty blow, he vanquished Ravanna and rescued Princess Samantha from the darkness that had ensnared her.

Mordecai: "Samantha, my beloved! Are you hurt? Fear not, for you are safe now, and I shall never let harm befall you again."

Samantha: "Mordecai, my hero! Oh, how I have longed for this moment! With you by my side, I fear nothing, for our love is stronger than any magic or malice in the world."

And so, Prince Mordecai and Princess Samantha returned triumphantly to their kingdom of Ayodhya, where they were greeted with jubilation and celebration by their grateful subjects. Their love had been tested and proven true, and together, they ruled wisely and justly for many years to come, a shining beacon of hope and inspiration to all who beheld them.

THE END!!

I Hope you guys liked it 😊🥰

For: @fxe4596 , @nicomxm23 , @mordorigs , @jgquintelslut , @pinkcandycatmakesart , @anifaz , @isrrael120 , @notadumbdog , @martingeekermmd , @eeveepalooza , @apollothedeity, @sidoresca, @siinhorhy, @insomniacz, @rhyliethecaterfly , @yeetafry, @at-weeb96, @kiwithekool11437, @kiko2032, @orchestralauthor, @untitled14360, @loudlyhappycupcake

[tog-maniac]

English translation of some of the names in kubera as well as references from Hindu mythology-

Agni- fire

Vayu- air/wind

Chandra- moon

Surya- sun

Indra- king

Varun- water (god of water)

Kubera- god of wealth

Brahma- god of creation( one who created the universe)

Visnu- care taker ( one who over sees all beings)

Shiva- god of destruction and ultimate end

Murugan- son of Shiva(also known as kartikey)

Marut- children of Shiva (they make the army of Indra)

Yama- the god of dead( the one who oversees the dead )

Kali - one of the forms of goddess Durga

Asha - Hope

Sagra- ocean

Gandharva- rather being a single individual gandharvas are the demigods who sing and play instruments for gods

Kinnra- rather being a single individual kinnras are the demigods that dance for gods.

Ananta- infinite (also king of snakes)

Kadru- mother of snakes

Petupan- gluttony (not a actual word , made up)

Jatayu- a bird who held off ravana once to protect Sita , but died by the hands of Ravana

Sampati- brother of jatayu ( he once tried to reach sun but got himself burned)

Tara- star

Garuda- ride of visnu

Usha- dawn

Ratri- night

Aruna - sun

PS - comment any character I missed or you want to know more about!!

[foxybutton]

Only A Touch

After it all, Kid woke up back at the temple to his friends singing in celebration. Wounds treated. Blood washed away. Stumbling off his floor mat towards the sound of drums. Sitting among them is Sita. Tossing bits of roti to his favorite street dog.

Alpha is the first to notice him. Proudly, beckoned him over. Kid lowers himself down to sit between Alpha and Sita.

"Better stop feeding that dog." He said to Sita in a low voice. A whisper only meant for her ears. "She's going to keep coming back, expecting more. You'll give her hope and break her spirit."

Those words have Sita pulling her arms in. Head hung low as she held herself. Of course, the little dog only nuzzled her legs. Begging for more food even though she would settle for some affection.

Sita's manicured hand reached down to statch at those floppy ears. "Maybe I have enough hope to share with her. Only a touch of it." Sita said, holding back her tears with a smile. Eyes meeting Kid's.

His hand was already seeking her out. The dark softer flesh at the back of his fingers wiping away a stray tear she hadn't felt fall.

[thereader-radhika]

Sita in Ashoka Vanam - The Reality of Nandini's Luxurious Life

In Ponniyin Selvan, many gardens are compared to mythological gardens like Nandana vanam, Madhu vanam and Ashoka Vanam but there is only one garden like the Ashoka Vanam of Ravana, built between buildings.

They went into an extension of the palace that jutted out into the garden, a latha mandapam. It was built like a passage, to link two huge palaces.

There is only one person who perpetually stays in the 'Ashoka Vanam'- Nandini. Periya Pazhuvettaraiyar too notices that his wife is always outside the palace.

Why did she often sit by herself in the latha mandapam? What for? . . . One more question rose in his mind: what was she doing there when it was well past midnight?

In fact, Nandini is never shown inside her husband's palace except when she is with other people like Kundavai. Pazhuvettaraiyar, Ravidasan, Vanthiyathevan, Kandan Maran, Aditha Karikalan . . . all meet Nandini in this gazebo.

Nandini's state didn't go unnoticed even by the maids of Pazhuvettaraiyar.

Once two maids came to the back of the palace. They saw the uprooted trees strewn around the garden. "Adada! It looks like the Ashoka Vanam destroyed by Hanuman, doesn't it?" said one. "If our Sita Devi had been here, she would have felt very sad", replied the other.

Nandini's meeting with Vanthiyathevan in the gazebo draws heavily from the imagery of the Ramayana episode of Hanuman meeting Seetha in the Ashoka Vatika, with her maid sleeping in the corner and Vanarkula veeran Vanthiyathevan complaining that people call him 'kapi'(monkey). At the same time, it is contrasted by Nandini's attitude and her extravagant attire.

Nandini too compares herself to Sita directly and indirectly.

Let them talk, Manimekalai. They spoke ill even of the great Sita Devi. And what did Sita lose because of them?

Whatever it is don’t mention that I am the wife of Pazhuvettaraiyar. I am not his wife . . . If a girl is forcibly abducted and brought home will she become the abductor’s wife by default?

Periya Pazhuvettaraiyar isn't as foolish as his behaviour suggests and deep within he too has an inkling of what is going on.

She kept talking about fasts and austerities but had never explained what they really were. It seemed like a ruse, the kind practised by cunning women one read about in stories.

All this can be contrasted with the big garden in Kundavai's backyard, where princesses are always dancing and singing. While there is a swan couch in Nandini's gazebo, Kundavai has a swan boat which lets her travel freely and openly.

It is questionable if Nandini even gets adequate food as she is always lying about undertaking several viratam and nombu (that is, fasting and fasting). The only relief is that Periya Pazhuvettaraiyar doesn't spend much time with her and she could be sneaking in some snacks or fruits.

The status of Pazhavoor Ilaya Rani doesn't shield her from the barbs of Kundavai.

I’ve often insulted her and made fun of her after she came back as the wife of the old man of Pazhuvoor.

It doesn't offer much protection against perverts like Kandan Maran and Parthipendran.

Blinded by passion, Kandan Maran grasped her hand and stammered, "I will do anything for you."

While he spoke, Parthibendran suddenly clasped Nandini's hands and placed them on his eyes.

To be frank, she is scared to even travel in the same boat as her husband fearing that he would do something to her.

Basically, the only 'privilege' that Nandini gets are jewellery and clothes.

The whole country knows that the Junior Queen of Pazhuvoor well known for her beauty is also fond of beautifying herself with the finest of dresses and jewels . . .Poor man, Periya Pazhuvettaraiyar! . . . He does not know about the fire that’s constantly burning in my chest.

Nandini's luxurious life, what she boasts to others and what others accuse her of, is mostly a myth! Other than exquisite jewellery and beautiful clothing, there is nothing pleasant about it.

[revretch]

Yikes, already thought "Sita Sings the Blues" was ugly as fuck but now I know it was made by a TERF so fuck it completely lmao

[the-gayest-tree-you-ever-did-see]

i want to write ram a happy ending, i want him to live, i want sita to grow old with him, i want rekha to stay in their lives, i want everything for them but i just cant. because the tragedy was so, so unavoidable. ram wouldnt have been ram, sita wouldnt have been sita, the world wouldnt have been the world if anything had changed. if ram hadnt run to waheeda, hadn't heard her cries, if ram went home instead of vishnu, hell, if both of them were sent home, if sita's brother helped her.... it wouldnt have been the same.

the fact that ram was gone is just as cemented as the fact that, once, he wasnt. that he wasnt an orphan. that he was loved. that he was lost. i cant give them a happy ending because it wouldnt be for them. it would be for some parallel creature wearing ram's face, singing sita's songs.

it's such a tragedy.

it's beautiful because it ended. it's tragic because it began.

[luxshine]

New little details for the Drrragon!Verse

Dragon born's voices are empathic in nature. If they put all their emotions in their voice, humans around them will feel the same emotions. This is why everyone joins the Nattu Nattu dance, even the men who were five seconds previously dismissing it as "Disgusting" and why Bheem's singing incites a Riot. This is also why, when in police duty, Ram speaks very little. He doesn't want to risk anyone acting weird because he used his voice.

Besides their hoard, Dragons tend to adopt certain humans as "theirs" to protect specifically. Like we humans do, they pack bond. Ram's human mother was the chosen one of Ram's dragon mother, which is why she was allowed to touch and carry Ram's egg in general. Ram's special human is Sita, but he is hoping she'll find a good partner of her own kind. Bheem's chosen humans are, of course, his whole village, but Ram is convinced at first that he has no special human and that Jenny is the chosen one, hence why he tries so hard to get them to talk. Then, when he lets Bheem convince him that Bheem is human, he is quite confused because if what he felt for Bheem was just "I chose a new human besides Sita", he would be happy with Bheem marrying Jenny, but instead, he is insanely jealous.

Although dragon borns have soulmates, they can be platonic soulmates if there is no romantic spark. In those cases, if each of them finds a romantic partner, there's no heartbreak sickness. However, if any of them begins the wooing process in a romantic way, then yeah, the bond will be romantic and if there's rejection, the rejected dragon will die of heartbreak in a few months (According to the books Ram has found, the longest a dragon survived heartbreak was 10 months, in China)

The very first step of the wooing ritual is to give their soulmate something for their hoard. If the soulmate accepts it, it means that the other has permission to woo them and win their heart. Usually those first gifts are placed directly in the nest of the one who received them, so they can feel closer to their mate.

No one except a mate or a blood family member has the right to touch a dragon's hoard. Whenever someone else has to help the dragon to move their hoard- like, for example, rescuing Ram's books from Dheli- they have to wear gloves so that their scent doesn't get in the pages.

Dragons can't be hurt by their own element or the element of their mate, and they are healed by their own element. If Ram couldn't shift, but ended up with his faces in embers of a fire, he'd heal, and every time he gets wet, Bheem regains strength and energy.

Feeding your mate is not a wooing ritual, but feeding your mate directly from your hand is. Bheem has given Ram a lot of mixed messages this way accidentally.

One of Lacchu's missions, besides helping Bheem to save Malli, is to keep Bheem's instincts in check. Unfortunately for him, but fortunately for the boys, the fact that he has to remain hidden and away from Bheem during the months between the boys meeting and the Party means that he missed Bheem's instincts starting to wake thanks to Ram's actions, and so Bheem was able to start a hoard. He still manages to get Bheem his "medicine", but he doesn't get to observe the changes until it's a bit too late.

Because of her studies, Jenny suspects both Ram and Bheem to be dragons, even more so after the party. At first she is delighted because that means she found not one, but two living dragon borns, who also seem to be in the middle of the mating ritual -she knows about the Scottish version of the ritual thanks to her books, not the hindu one- and later just as confused as Bheem because she can't imagine how Ram can bring himself to hurt Bheem at all.

Malli knows that Ram was trying to save her and Bheem because Ram told her what to do once they reached the execution place, but Bheem just won't believe her when she tells him. At this point, he doesn't know it but is starting to feel the effects of heartbreak.

Bheem doesn't know it, but the book he gave Ram as a first gift is a book on Dragon legends from outside the British Raj. It's in french, which Ram doesn't read, but it does hold the key to find other hidden dragons away from the British (Oh,dear lord, that sounds like sequel bait, doesn't it?)

Whenever the medicine starts loosing effect on Bheem, he dreams of Ram -this was even before they met- but once he takes it again, he forgets the details and the frequency of those dreams. When he realizes that, he starts fighting the effects even if he doesn't know what it exactly does to him.

Ram has dreamt of Bheem too, but he never remembered those dreams as he kept his emotions so bottled that they couldn't reach him in the waking world.

[maryoliverdotcom]

A Shade Darker Than Red: Chapter 9

Chapter 8.5

Friday, 19:08 p.m.

I glanced at my watch, wading through the crowd as I searched desperately for a certain pair of brown eyes, a glimpse of raven-black hair and lips lined with maroon lipstick. The song Perfect blasted from the speakers and I somehow resisted the urge to start singing along—briefly imagining Sita and Jenny dancing to it instead. That was well and good, but where was my Sita?

It wasn’t long before I saw her. My heart stopped for a moment as my eyes rested on her divine form stepping through the crowd, a maroon dress draped around her body and enclasped around her neck, her dark-skinned shoulders on display. Her head was held high as the crowd of teenagers parted at her presence, staring at her wordlessly. A glass of wine in her hand, she looked beautifully cold and distant—until her searching eyes caught sight of mine.

“Renu!” she cried, forgetting all grace and poise. She somehow managed to run towards me in her ankle-breaking heels, wrapping me in a bone-crushing hug.

“Hi, Paro,” I said lamely. She pulled away and looked at me like I was the stupidest thing she’d ever seen. Oh, God, I was screwed.

“Thank God you’re here!” she said, slipping her arm around mine. “This place was so empty without you.”

“Yeah, I tend to have that effect on people,” I said smugly. Paro rolled her eyes, taking a swig of the wine. “I’m not going home before I’m properly drunk,” she explained as she refilled her glass.

I cringed. “The school is going to regret endorsing wine,” I said. “Especially the tenth graders who wanted to have it in the first place.”

Paro groaned, chugging down the entire glass. “Let them,” she said. “It’ll be like a last ‘fuck you’ to the school before we finally leave.”

I laughed as Paro dragged me towards the game stalls. “Can you please get me a teddy bear?” she asked, her words already turning into a drawl.

I chuckled and shot at the board of balloons. My aim was almost never right—Paro would have to be disappointed this time. Surprisingly, I heard a pop! and the ninth grader hosting the stall handed Paro a pink teddy bear. She clutched it to her chest as she refilled her glass once more. “Thank you,” she said with a beaming smile.

“Well, it seems like you’re my good luck charm,” I joked, leading her away from the stall.

The evening passed by visiting stalls and laughing and spinning each other around until the moonlight illuminated Paro’s tired and barely sober features. I checked my watch. It was 8 p.m, and the stalls would be closing in an hour.

“Paro, I think we should go home now,” I said.

Paro whined. “But why?” she slurred, and I knew she would wake up the next day with a terrible hangover.

“Because,” I began, gesturing towards all the soft toys she had gathered in her arms, “Mr Teddy, Mr Chomp, Miss Owl and Rodrick should probably be asleep by now, it’s past their bedtime.”

Paro seemed to consider it. “So, do we call an Uber?”

I paused. Two drunk teenage girls in lavish gowns wouldn’t be hard to prey on at night, especially when the entire control was in the driver’s hands. “No,” I said. “I think we should call Kiran.” Kiran, being the oldest in our group, always stayed up until 3 a.m and I knew he was binge-watching Netflix at this very moment.

Paro nodded, although I wasn’t sure if she heard anything I said. She gasped, running over to another stall and I followed, albeit reluctantly, with my phone pressed to my ear.

“Hi, Kiran,” I said as Paro tried to refill her glass. “No, we’re not doing that again,” I muttered, snatching the bottle of wine away from her. “Sorry, I wasn’t talking to you,” I resumed the call again. “I’m with Paro—yeah—at the grad party and uh, we kinda need someone to drop us off.”

I heard Kiran grumble and something like a female voice on the other end of the phone. I recognised the unknown voice as Prarthana’s. I cackled inwardly.

“Mhm, sure, I’ll drop you off,” Kiran said, their voice huskier than it usually was. “I’ll be there in five minutes.”

I almost dragged a heavily drunk Paro away from the stalls and forced her to say goodbye to the teachers. “But they were complete tyrants,” she whined, struggling to stay steady on my arm. “They won’t take it kindly,” I explained. “Plus, it won’t take long.”

After saying goodbye to the teachers (which did, actually, take a long time), my phone vibrated in my pocket. Kiran.

I waved goodbye once more with a polite smile and gently guided Paro towards the exit—just in time as Kiran’s familiar black car stopped in front of the gate. “Thanks dude,” I said, stepping into the car. Kiran merely sighed.

The rest of the ride was quiet. Paro had lost her earlier vigour and had fallen asleep with her head on my shoulder, a peaceful expression on her face. I tilted her chin towards me and gently wiped away a thin line of drool with my thumb. “Doofus,” I murmured under my breath.

Kiran looked at me through the rearview mirror. “Just tell her you love her,” they said softly. I shook my head, my finger running absent-mindedly through Paro’s hair. “I can’t hurt her,” I muttered. 

Kiran frowned. “Stop talking bull, you won’t hurt her.”

I smiled. “My world is a world of red, Kiran,” I murmured. “She—she deserves better.”

Kiran sighed, running one hand through their hair with the other on the steering wheel. “You’ll kill yourself like this, Renu.”

I didn’t say anything. I couldn’t risk my friendship with Paro—not after everything we’d been through. I couldn’t risk losing the little bit of colour I had left in my life.

@avani-amulya @manujanolavu @nirmohi-premika @lovesickpdf @arachneofthoughts @sonilaalbindi @desi-yearning @alhad-si-simran @thatpagalchokri @trashmeowcan @waitingforthesunrise @vellibandi @thesunandstarss @chanda-chamke-cham-cham @damnn-dorothea @the-unhinged-fanwinggg @watchingblsnowandforever @disproportionatelysculpting @bundle-of-glitter @bibliophile-dendrophile please let me know if you want to be added or removed from the taglist <3

we're getting closer to the first kiss >:D

[amalthea9]

25. How do they comfort each other when one of them is scared?

For Ram X Sita

Aawww I love this 😭💖

Sita sings Ram the lullaby his mother and her mother used to sing when the children were afraid. Even with the grief of his loss, Ram still finds immense comfort in the lullaby. Sita will hold him gently from behind and sing softly.

When Sita is scared, Ram reminds her of how brave she is and has always been.

"You are my courage, my Sita." He whispers as he holds her tightly . And Sita feels safe and remembers how long she was brave for her Ram.

[voidsteffy]

Smash or Pass: SSR character edition

(if you don't know what Smash or Pass is, its basically a fun little Yes or No game on if you would like to be in a romantic relationship with a fictional character or not. "Smash" means "yes, I would like to be in a romantic relationship with this X character" and "Pass" means " nah, I'd rather be platonic friends with X character".

Disclaimer: I do not mean any relationship with the actors playing the characters. I refer some characters by their actor's names because i often forget the names of the actual characters

I'd like to inaugurate this ask with:

1. Chatrapathi - smash (do NOT ask)

And then onwards:

2. Ntr in sn1 - pass, too sappy for my taste

3. Ntr in Yamadonga - pass, except for that voni scene, it gets me every. damn. time

4. Nitiin in dhee - PASS, don't want me a man who gets his hw done by his friend

5. Genelia in dhee - smash

6. Rathore in Vikramarkudu - smash

7. Sweety in Vikramarkudu - pass

8. Nani in Eega - smash, marry, nee gundegootilo na gunde haayiga taladaachukundani telusu

9. Bahu - nope

10. Avantika - SMASH (without makeover)

11. Devasena - pass, I'd like to be her life coach instead, girl needs to go get some manners and an ego check

12. Bhalla - I answer for @sada-siva-sanyaasi and myself - SMASH

13. Bheem - Smash, HARD SMASH, I'd probably even sing him a lullaby as he curls up in my lap, our pinkies together

14. Ram - pass, he's like my brother.... and he's very emo. no emo for me thanks

15. Sita - Smash

16. Jenny - pass, we're besties, we'll probably be those besties who everyone thinks are secretly in love with each other tho

17. Sunil from Maryada Ramanna - nope, I'd like to give him a loan tho

18. Harsha from Magadheera - smash, with the armour on

19. Mitra from Magadheera - smash, maybe archery foreplay like in Princess Diaries 2

20. Ranadev Billa from Magadheera - pass. I'd like to recommend him a therapist instead, and keep him far away from netflix lest he binge You and get more creative

Thank you so much for the ask! It was such fun eee haha! *Squeals*