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be-gay-do-heists · 3 years

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hello yall :) the holy month of elul started last night, which is typically a time for contemplation, so since it is impossible for me to stop thinking about leverage, i decided to write an essay. hope anyone interested in reading it enjoys, and that it makes at least a little sense!! spoilers for leverage redemption

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Leverage, Judaism, and “Doing the Work”: An Essay for Elul

When it comes to Elul and the approaching High Holidays, Leverage might seem like an odd topic to meditate on.

The TNT crime drama that ran from 2008-2012, and which released a new season this summer following its renewal, centers on a group of found-family thieves who help the victims of corporations and oligarchs (sometimes based on real-world examples), using wacky heists and cons to bring down the rich and powerful. In one episode, the team’s clients want to reclaim their father’s prized Glimt piece that had been stolen in the Shoah and never returned, but aside from this and the throwaway lines and jokes standard for most mainstream television, there’s not a ton textually Jewish about Leverage. However, despite this, I have found that the show has strong resonance among Jewish fans, and lots of potential for analysis along Jewish themes. This tends to focus on one character in particular: the group’s brilliant, pop culture-savvy, and personable hacker, Alec Hardison, played by the phenomenally talented Aldis Hodge.

I can’t remember when or where I first encountered a reading of Hardison as Jewish, but not only is this a somewhat popular interpretation, it doesn’t feel like that much of a leap. In the show itself, Hardison has a couple of the aforementioned throwaway lines that potentially point to him being Jewish, even if they’re only in service of that moment’s grift. It’s hard to point to what exactly makes reading Hardison as Jewish feel so natural. My first guess is the easy way Hardison fits into the traditional paradigms of Jewish masculinity explored by scholars such as Daniel Boyarin (2). Most of the time, the hacker is not portrayed as athletic or physical; he is usually the foil to the team’s more physically-adept characters like fighter Eliot, or thief Parker. Indeed, Hardison’s strength is mental, expressed not only through his computer wizardry but his passions for science, technology, music, popular media, as well as his studious research into whatever scenario the group might come up against. In spite of his self-identification as a “geek,” Hardison is nevertheless confident, emotionally sensitive, and secure in his masculinity. I would argue he is representative of the traditional Jewish masculine ideal, originating in the rabbinic period and solidified in medieval Europe, of the dedicated and thoughtful scholar (3). Another reason for popular readings of Hardison as Jewish may be the desire for more representation of Jews of color. Although mainstream American Jewish institutions are beginning to recognize the incredible diversity of Jews in the United States (4), and popular figures such as Tiffany Haddish are amplifying the experiences of non-white Jews, it is still difficult to find Jews of color represented in popular media. For those eager to see this kind of representation, then, interpreting Hardison, a black man who places himself tangential to Jewishness, in this way is a tempting avenue.

Regardless, all of the above remains fan interpretation, and there was little in the text of the show that seriously tied Judaism into Hardison’s identity. At least, until we got this beautiful speech from Hardison in the very first episode of the renewed show, directed at the character of Harry Wilson, a former corporate lawyer looking to atone for the injustice he was partner to throughout his career:

“In the Jewish faith, repentance, redemption, is a process. You can’t make restitution and then promise to change. You have to change first. Do the work, Harry. Then and only then can you begin to ask for forgiveness. [...] So this… this isn’t the win. It’s the start, Harry.”

I was floored to hear this speech, and thrilled that it explained the reboot’s title, Leverage: Redemption. Although not mentioned by its Hebrew name, teshuvah forms the whole basis for the new season. Teshuvah is the concept of repentance or atonement for the sins one has committed. Stemming from the root shuv/shuva, it carries the literal sense of “return.” In a spiritual context, this usually means a return to G-d, of finding one’s way back to holiness and by extension good favor in the eyes of the Divine. But equally important is restoring one’s relationships with fellow humans by repairing any hurt one has caused over the past year. This is of special significance in the holy month of Elul, leading into Rosh haShanah, the Yamim Noraim, and Yom Kippur, but one can undertake a journey of redemption at any point in time. That teshuvah is a journey is a vital message for Harry to hear; one job, one reparative act isn’t enough to overturn years of being on the wrong side of justice, to his chagrin. As the season progresses, we get to watch his path of teshuvah unfold, with all its frustrations and consequences. Harry grows into his role as a fixer, not only someone who can find jobs and marks for the team, but fixes what he has broken or harmed.

So why was Hardison the one to make this speech?

I do maintain that it does provide a stronger textual basis for reading Hardison as Jewish by implication (though the brief on-screen explanation for why he knows about teshuvah, that his foster-parent Nana raised a multi-faith household, is important in its own merit, and meshes well with his character traits of empathy and understanding for diverse experiences). However, beyond this, Hardison isn’t exactly an archetypical model for teshuvah. In the original series, he was the youngest character of the main ensemble, a hacking prodigy in the start of his adult career, with few mistakes or slights against others under his belt. In one flashback we see that his possibly first crime was stealing from the Bank of Iceland to pay off his Nana’s medical bills, and that his other early hacking exploits were in the service of fulfilling personal desires, with only those who could afford to pay the bill as targets. Indeed, in the middle of his speech, Hardison points to Eliot, the character with the most violent and gritty past who views his work with the Leverage team as atonement, for a prime example of ongoing teshuvah. So while no one is perfect and everyone has a reason for doing teshuvah, this question of why Hardison is the one to give this series-defining speech inspired me to look at his character choices and behavior, and see how they resonate with a different but interrelated Jewish principle, that of tikkun olam.

Tikkun olam is literally translated as “repairing the world,” and can take many different forms, such as protecting the rights of vulnerable people in society, or giving tzedakah (5). In modern times, tikkun olam is often the rallying cry for Jewish social activists, particularly among environmentalists for whom literally restoring the health of the natural world is the key goal. Teshuvah and tikkun olam are intertwined (the former is the latter performed at an interpersonal level) and both hold a sense of fixing or repairing, but tikkun olam really revolves around a person feeling called to address an injustice that they may have not had a personal hand in creating. Hardison’s sense of a universal scale of justice which he has the power to help right on a global level and his newfound drive to do humanitarian work, picked up sometime after the end of the original series, make tikkun olam a central value for his character. This is why we get this nice bit of dialogue from Eliot to Hardison in the second episode of the reboot, when the latter’s outside efforts to organize international aid start distracting him from his work with the team: “Is [humanitarian work] a side gig? In our line of work, you’re one of the best. But in that line of work… you’re the only one, man.” The character who most exemplifies teshuvah reminds Hardison of his amazing ability to effect change for the better on a huge stage, to do some effective tikkun olam. It’s this acknowledgement of where Hardison can do the most good that prompts the character’s absence for the remainder of the episodes released thus far, turning his side gig into his main gig.

With this in mind, it will be interesting to see where Hardison’s arc for this season goes. Separated from the rest of the team, the hacker still has remarkable power to change the world, because it is, after all, the “age of the geek.” However, he is still one person. For all that both teshuvah and tikkun olam are individual responsibilities and require individual decision-making and effort, the latter especially relies on collective work to actually make things happen. Hardison leaving is better than trying to do humanitarian work and Leverage at the same time, but there’s only so long he can be the “only one” in the field before burning out. I’m reminded of one of the most famous (for good reason) maxims in Judaism:

It is not your duty to finish the work, but neither are you free to neglect it. (6)

Elul is traditionally a time for introspection and heeding the calls to repentance. After a year where it’s never been easier to feel powerless and drained by everything going on around us, I think it’s worth taking the time to examine what kind of work we are capable of in our own lives. Maybe it’s fixing the very recent and tangible hurts we’ve left behind, like Harry. Maybe it’s the little changes for the better that we make every day, motivated by our sense of responsibility, like Eliot. And maybe it’s the grueling challenge of major social change, like Hardison. And if any of this work gets too much, who can we fall back on for support and healing? Determining what needs repair, working on our own scale and where our efforts are most helpful, and thereby contributing to justice in realistic ways means that we can start the new year fresh, having contemplated in holiday fashion how we can be better agents in the world.

Shana tovah u’metukah and ketivah tovah to all (7), and may the work we do in the coming year be for good!

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(1) Disclaimer: everybody’s fandom experiences are different, and this is just what I’ve picked up on in my short time watching and enjoying this show with others.

(2) See, for example, the introduction and first chapter of Boyarin’s book Unheroic Conduct: The Rise of Heterosexuality and the Invention of the Jewish Man (I especially recommend at least this portion if you are interested in queer theory and Judaic studies). There he explores the development of Jewish masculinity in direct opposition to Christian masculine standards.

(3) I might even go so far as to place Hardison well within the Jewish masculine ideal of Edelkayt, gentle and studious nobility (although I would hesitate to call him timid, another trait associated with Edelkayt). Boyarin explains that this scholarly, non-athletic model of man did not carry negative associations in the historical Jewish mindset, but was rather the height of attractiveness (Boyarin, 2, 51).

(4) Jews of color make up 20% of American Jews, according to statistics from Be’chol Lashon, and this number is projected to increase as American demographics continue to change: https://globaljews.org/about/mission/.

(5) Tzedakah is commonly known as righteous charity. According to traditional authority Maimonides, it should be given anonymously and without embarrassment to the person in need, generous, and designed to help the recipient become self-sufficient.

(6) Rabbi Tarfon, Pirkei Avot, 2:16

(7) “A good and sweet year” and “a good inscription [in the Book of Life]”

#leverage #miko speaks #jewish stuff #jumblr #leverage redemption #spoilers #lr spoilers #leverage redemption spoilers #written for a non leverage audience because i want my rabbi to read it alskdjflaksdjf #elul

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ptergwen · 3 years

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web of lies

take a leap. if you start to fall, the net will appear to catch you.

photographer!peter x journalist!reader || masterlist

w/c: 7.1k

warnings: swearing, one drinking mention, descriptions of anxiety, and angst if ya squint

summary: peter can’t stop holding your hands, betty and ned are the modern day bonnie and clyde, ned is a terrible guy in the chair, the osborn’s are up to something, and mj hates you all

a/n: y’all i’m super excited about this series like i haven’t had an idea i’ve really loved in months? so it’s good to be back !!! there are tons of things i have planned and i can’t wait to share them with all of you hehe i really hope you enjoy part one <3 happy reading

to be honest, which is what you do best, you’ve had a thing for peter parker your whole time at the daily bugle. you actually almost told him once.

a couple months ago, peter walked you home on a night you worked overtime. he’d came in last minute to leave some pictures on your boss’s desk. no one else but you was there, hunched at your computer in the dim office lighting. peter was pleasantly surprised to see you, yet concerned for your well-being. you had to put your finishing touches on a story.

he didn’t feel comfortable letting you travel alone at that hour. so, he went with you when you were ready. his company was more than welcomed. you told peter about your article while you two sat on the subway. he’d listened intently, your head resting on his shoulder and his arm around you. he made sure you got to your apartment building alright as well.

“hey, peter?” you’d asked, halfway up the steps. he was waiting until you were inside and safe to leave. “hm? you good?” he’d smiled sort of expectantly. “yeah. i... i wanted to say...”

your words got caught in your throat when he gave you the softest puppy eyes you’ve ever seen. you couldn’t do it. for some reason, you were too scared to confess how you felt. “thanks again for walking me home,” you’d settled on. he’d seemed disappointed that was what you wanted to tell him. nevertheless, he said not to worry about it before taking off.

that one moment perfectly captures it all; how yours and peter’s narrative plays itself out.

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“we’ve got an update on hydra v. the people!”

“those freaky giraffes escaped the zoo... again.”

“shoot one more spitball and it’ll be your last.”

“does anyone have an aspirin?”

welcome to the daily bugle, where the chaos never ends and the calm never starts. you’ll find new york’s finest writers, publishers, and creatives of all kind right here. that would include you. you’re one of the top journalists in the whole building, according to mr. norman osborn. he’s the brilliant and slightly insane man who runs this place.

although it’s rare for someone in your field, you were hired straight out of college. norman read a few pieces you’d written and loved them so much that he offered you a job. full time, full benefits, no questions asked. there was something special about the way you wove your words together. your writing had its own voice. a strong voice, one the paper was severely lacking.

you’ve been with the bugle for just over a year now. it’s not the quiet, nine to five gig you were initially expecting it to be. you’re each very unique individuals in your office, and there’s never a dull moment because of it. your coworkers can be found hosting debates on the riskiest topics or tackling each other for blueberry muffins, and that’s just a regular tuesday. the place is stranger than strange. but, it’s become home.

thanks to mr. osborn being so accommodating, you actually settled in rather quickly. another big help has been the friends you’ve made. your first was michelle jones, who prefers to be called mj. she’s a fellow journalist with a wickedly dark humor that trickles into her writing. if you had to describe her in one word, it would be blunt. mj is as real as it gets, and also eternally loyal. she keeps her circle small, so you’re honored you get to be in it.

mj sits right next to you, which means you’re always talking through your days. that’s due in part to the way your office is set up. there aren’t any cubicles, tables and swirly chairs taking up their space instead. norman heard it was more progressive, probably from his son harry.

harry is about your age, only a couple of years older. he hangs around quite a lot, but doesn’t do much with his time besides that. according to norman, he’s still seeking out his passion. he’s banking on him finding a suitable career at the bugle. he’d like to pass this all on to harry some day, hopefully sooner than later. either way, you don’t mind having harry here. he’s super funny and friendly with everyone.

there’s also ned leeds, who’s an editor and reviews most of your pieces. he’s sweeter than candy, even when he’s ripping your grammar to shreds. on the rare occasions you’re not discussing breaking news, you two talk about movies. ned is a film buff and gives you the best recommendations. you’re convinced he was a critic in his past life.

last but so from least is peter parker. he only works for the bugle part time, since he’s still in school. you both graduated from your respective colleges the same year. peter wants to get his masters degree, though. he’s a photographer who’s aspiring to be a cinematographer. him and ned have their passion for the industry in common, and that’s what makes them such great friends.

you learned this and more from the times you and peter have partnered up on stories. he’s one of your best friends not only at the bugle, but in your entire life. the many long nights you’ve spent collaborating have brought you close to each other. they consist of drinking and deep talks, along with some actual work. he takes the pictures, you do the writing. you’ve been told you make a lovely pair.

peter says it himself, too. you’d like to believe he means it as more than coworkers. he’s so caring, and smart, and pure, and peter. yeah, you like him an awful lot. you can hardly stand the feeling of it sometimes.

the fact that you you haven’t come clean already is ridiculous.

“goddamn. not again,” you mutter out. “em, you better come look at this. it’s bad.” mj wheels over to you in her chair with a puzzled look. her eyes follow yours, landing on your computer. “leeds just sent this? to everyone?” she questions, your reply a short hum. you’re both staring daggers at the email your screen displays.

ned is responsible for assigning each journalist their own topics to cover. he’s been lacking a bit recently, having you write up think pieces on fluffy things. in other words, stuff that no one cares about. he asked you to compare oat milk and almond milk just last week. you’d hoped this week would be better, but here you are.

“this is ass. who does he think we are, buzzfeed?” mj scoffs at her own words. the daily bugle prides itself on being a reliable news source, on paper and tv. you’re starting to stoop down to the low level of your competitors. “he assigned me some tiktok dance trend. i’m not writing a single word about that app.” she sets her elbows down on the table, head in her hands.

“aw, why not? grandma mj isn’t down with the kids?” you tease and click out of the upsetting email. “i don’t write for kids,” mj deadpans. she pushes her glasses up on her nose. “what’d you get?” “the evolution of memes,” you gloomily reply. you’re surprised norman has been approving these topics. then again, ned is the head editor. he can do whatever he wants regardless of approval.

mj glares over at the kitchen, where betty brant currently resides. she’s making two hot chocolates instead of her usual one. “i blame her,” mj mumbles to you. your eyebrows furrow. “dude, what? betty is an angel. she doesn’t even work in editing.” betty is the bugle’s highest rated anchorwoman. her and her news team are on people’s televisions every night.

“no, but she has been spending a generous amount of time with leeds,” mj grumbles. she’s admittedly very nosy. the upside is that she tells you any juicy office drama there is. “my theory is betty’s making him give us crap stories so she can report the good ones.” she glances over at you to see what you think. “no way. that can’t be allowed... or legal,” you laugh back.

as if on cue, ned appears next to betty in the kitchen. he takes the extra hot coco that’s piled high with whipped cream. betty tucks a sheet of paper into his suit pocket and kisses his cheek, then he’s gone. you can only gasp as you watch this unfold. what has she done to poor, clueless ned?

“not such an angel anymore, huh?” mj smirks in satisfaction. “suddenly, she has red horns and a pitchfork,” you bitterly agree with your tongue in your cheek. betty waves to you two on her way back to broadcasting. mj gives her a fake nice finger wave, you ignoring her. “we can’t sit back and let this happen, em. we have to do something,” you decide. “let’s tell norman.”

uninterested, mj takes off her glasses and starts to clean them. “like he’ll believe us. yeah, golden girl betty brant is sabotaging the writer’s room,” she rewords her previous statement to put its stupidity in perspective. you throw your hands up. “she is, though! we literally watched it happen!” mj puts her freshly wiped glasses back on and sighs.

“i doubt norman would care, y/n. every newspaper to ever exist is corrupt somehow.” your pessimistic old pal has a point. however, you’re not so willing to accept it. “why can’t we be the first one that isn’t?” you offer a small smile. mj snickers, wheeling back to her own computer. “those are words of the innocent.” she’s already tapping her fingers across the keyboard.

“i thought you weren’t doing the tiktok piece,” you say under your breath. you’re slightly pissed mj turned you down, since she’s the reason you know about betty’s meddling. “i’m not,” mj answers sharply. “i’m gonna email quentin and ask if we can change our topics. happy?” quentin beck is another editor in the building. he’s not bad, but he is intimidating. no one typically goes to him as their first option.

“i’m thrilled,” you confirm and grin at mj to emphasize it. “thanks for stepping up. you’re forgiven.” “i didn’t realize i had to be sorry,” mj notes, this time in a playful manor. she shakes her head as she begins writing. “you and your morals.”

what you value most in your career is honesty, under any circumstances. of course, the other daily bugle writers are the same. norman strictly prohibits clickbait and crazy headlines because that isn’t real news. you leave that to companies like buzzfeed. you’re honest in the sense that you say whatever has to be said, what everyone else is too afraid to. you’ll speak your truth no matter who tries to stop you.

it didn’t used to be that way. there’s some childhood trauma that remains deep in the back of your mind. you’ve left that behind you now, having over a decade to cope with it. hey, they say the past is in the past. what’s important is your takeaway, that you would never let yourself or anyone else be silenced from there on out. never again.

quentin ends up giving you the okay to write different stories. he lets you and mj choose choose your own because he’s got “better things to do” and you’re “big girls.” what a peach he is. mj goes with how capitalism is continuing to provoke global warming. she has something to say about every major world issue, and you admire the hell out of her for it.

you’re a bit stuck when it’s time to write your article. it’s terribly ironic because you pushed for this. you aren’t too worried, though. the city is crawling with material, so you’ll find what you’re looking for eventually. lucky for you, some much needed inspiration comes skipping out of the elevator.

“morning, peter,” you hear liz greet him at the front desk. she’s your floor’s receptionist. her wisdom and patience keep this place going. “hi, liz. how’s it going?” he asks. “things have been quiet... mostly. can i do anything for you?” liz peers up at him. peter sports a shy smile. “uh, yeah. mr. osborn wanted to see me?” “right. hang on.” she nods, dialing his office phone number.

it’s endearing how peter calls him mr. osborn, seeing as the rest of you go with norman. he’s probably the politest guy you’ve ever met.

grinning, liz puts down the phone. “you can go in whenever you’re ready. good luck!” peter laughs nervously and turns to leave. “thanks, you too.” his face falls when he realizes his mistake. “wait, i- i didn’t mean to say that. that was stupid. you’re not-“ “it’s fine, peter,” liz reassures him. his anxiety makes him trip over his words sometimes. that, and he’s a bit dorky in general. you find it rather adorable.

you also wonder what exactly he needs good luck for. he’s not even supposed to be working today, so your curiosity as to what’s going on has been piqued.

“um, i’m gonna go now. bye!” peter rushes off, his face tinted pink from the embarrassing encounter. you’re hoping he’ll stop and talk with you for a little while, but he heads straight to norman’s office. your whole body deflates at that. mj notices from her peripherals.

“what’s the matter? missing your hubby?” she coos, her words dripping in sarcasm. “no,” you lie. “i’m... i don’t know what to write about.” ok, there’s some truth. mj gives you a couple pats on the shoulder. “ask parker for help. you two work... well together. don’t you?” this must be the zillionth time you’ve heard that.

“we do,” you murmur and glance at norman’s closed door. peter is hidden behind it. “i just don’t wanna bug him. he has finals soon, and whatever norman is putting him up to. it’s my job, anyway.” mj pokes your arm. “those sound like excuses to me,” she concludes, still jabbing at you childishly. “you really just don’t wanna tell him you like-“

“can you keep it down?” you hiss, yanking your arm back. “he’s literally right over there.” peter stands up and shakes norman’s hand. you catch it through the blinds on his window. “y/n, you were drooling over his mere presence only minutes ago,” mj prefaces, a smile pulling at her lips. “you can handle three little words. i like you, that’s it. spit it out already.”

you’ll never admit this to mj, but she’s right. you lost your momentum after your first failed attempt to say the three little words. you’re still not sure what stopped you. you’d shared the details of that faithful night with her, and she’s been pushing you to try again since.

the door to norman’s office opens, and out walks peter. he’s beaming after their conversation, which seems like a good sign. harry passes peter on his way in to pay his dad a visit. he claps him on the shoulder, peter happily accepting before continuing his stride back into the main office. it takes a moment to register that he’s coming towards you.

you quickly set your focus back on your computer so he doesn’t think you’ve been watching him. even though, you definitely have.

“y/n!” peter calls your name. he’s on the opposite side of your table, in front of you. “peter!” you match his tone. “i was just dropping by. i thought i’d say hey while i’m here.” he’s still grinning. “what’re you doing?” he looks cute as ever in an oversized and cream colored sweater. his curls are slicked back with a tad too much product, cheeks rosy. you gaze up at him when he rests his arms on the table.

“pretending to be productive,” mj answers for you, pressing her lips together. peter cocks his head to the side. “pretending?” “ignore her. she’s being a shit stirrer today,” you explain. “like every other day,” he jokes, earning a laugh from you. mj just tuts and keeps writing. “talk about me like i’m not here,” she mumbles to herself, then gets back into her article.

“anyways, i thought you didn’t work today?” you ask to take the attention off yourself. also, because you’re curious. “oh! get this.” peter perks up even more, if that’s possible. he has energy like no other. “you know alex in broadcasting? betty’s camera guy?” “what about him?” you wonder. “he called in sick earlier this morning, with the flu or something.” he’s oddly excited to announce this. that prompts you to make a funny face.

biting back another smile, peter elaborates. “mr. osborn needed someone to fill in for him, so he picked me. i’ll be here all week.” it makes sense, since peter knows how to work a camera and does so wonderfully. you give him a celebratory push at his chest. “peter, that’s amazing! this is the perfect way to transition from pictures to film, right?” he’s nearing his finals at school, which consist of more movie-like projects. the news will be great practice.

then, he’s off to hollywood. you’ll put that out of your mind for now.

“exactly! i think it’ll be a good place to start. the pay isn’t bad either.” peter wiggles his eyebrows at you, you giggling once again. you do a lot of that when he’s around. that’s going to be more often now. “plus, i get to see you. everyone wins.” he squeezes your hand that was just on him. your heart begins to thump. “except alex,” you challenge, playing with his fingers. “but, for real. i’m happy you get to do this and that we’ll be spending more time together.”

“thanks, y/n/n. me too.” peter grins and leans over, taking a peek at your computer screen. there’s a blank word document on it. “you never told me what you’re up to,” he chuckles. “guess mj was right... nothing.” “i’m always right,” she chimes in from next to you. you look between the two of them with a scowl. “i haven’t found my story yet. i don’t know, this never happens.” peter nods as you share your dilemma. “no good ideas are coming to me,” you murmur.

“they will. you have a way of attracting things.” he licks his lower lip, your heart completely stopping this time. “well, i gotta go set up for rise and shine with betty brant.” he waves his hand like he’s presenting his words. that’s what betty calls her morning news segment. “be careful with her. she’s being really sketchy these days,” you warn peter, mj grunting in agreement.

confused, peter purses his lips. “really? ned says she’s a sweetheart. they’ve been going out for a while.” mj pops her head up and adjusts her glasses. “did ned also tell you she’s bribing him to give her all of our scoops?” she’s asking rhetorically because she already knows the answer. of course he didn’t. “it’s one thing to not like her. you’re just making things up now,” peter huffs.

mj kicks your foot under the table. “i told you no one would believe us. not even peter gullible parker.” “it’s benjamin,” he corrects her. “whatever,” she brushes it off, resuming her work.

peter does tend to be sort of naive, to only see the good in things when there’s plenty of bad. you’re the same in that way, unless you hang around mj for too long.

“is that true? betty’s stealing your stories?” peter turns to you and asks. you gesture to your screen. “i don’t have one, so you do the math.” he hums sympathetically. he’ll listen to you, never mj. “i’m sorry. thanks for telling me, y/n. i’ll watch out for her.” he bends his fingers to look like goggles, putting them around his eyes. you sigh lightheartedly.

“are you twenty two years old or twelve?” mj remarks, but not without a comeback from peter. “you’re, like, eighty five. worry about that.” they’ve had this type of banter for as long as you’ve known them. it’s equal parts amusing and exhausting. “don’t be late on your first day.” you snap peter out of it with a knowing smile. he returns it.

“i hope something crazy happens so you can write about it.” he’s walking backwards now, towards the elevator. “see you later, pete,” is all you say back, yet another laugh threatening to escape you. “see you. bye, michelle,” peter says just to bug her. “it’s mj,” she groans without looking up. he shrugs. “not so fun, is it?”

after peter is gone, you try to get back into work. or rather, you try to start your work. what he said about you having a way of attracting things keeps ringing in your head. was he flirting? no, he couldn’t have been. peter parker doesn’t flirt. words aren’t his strong suit, and you have countless memories that prove this to be true. earlier with liz, for example.

you’re probably reading way into this. peter was simply doing what any good friend would do and gave you advice.

it’s late in the afternoon when anything worth mentioning happens again. peter is still with betty, as far as you know. they’re probably preparing for the nighttime news now. all you’ve done since seeing him is nibble on snacks and bug mj, who’s almost done with her story despite your distractions. this is really bad, considering your deadline to submit is at the end of today.

you’ve never missed a deadline.

mj emails her work to quentin while you repeatedly bang your head on the table. she hits send before deciding to entertain you. “whatcha doing over there?” she cautiously prompts, powering off her computer. “trying to get an idea. i’m desperate, if you couldn’t tell.” your voice is muffled. “i could.” mj grabs your shoulders and pulls you back so you’re sitting up. you childishly pout.

“y/n, the only thing that’s gonna give you is brain damage,” mj says sternly, then softens her tone. “why don’t you ask for an extension? norman gives me them all the time.” whining, you slump down in your chair again. “yeah, but you’re you! we do things differently, have different expectations put on us.” she’s back to cold mj after you say that. “alright. at least i did something today besides pine over that little-“

mj’s insult for peter is interrupted by harry. “ladies, what’s shaking?” he comes up to you two with a the hint of smirk on his face. you manage a nod to acknowledge him. “oh, hey... harry,” mj unenthusiastically replies. she’s the one person who isn’t really a fan of him. “not much. y/n was just having a tantrum.” “she was not,” you dismiss her. “it’s work stuff. you know your dad.”

harry clicks his tongue in a teasing way. “yep, the grind never stops in this joint. boss man is...” he does the sign for cuckoo with his finger. you laugh a little at that. “in a good way,” you add on. mj only watches you two, blinking blankly. harry gives you a definitive pat on the back. “before i forget, he wants to see you.” that gets mj talking. “norman?” she questions. “your dad?” you choke out at the same time.

“who else? he said you two have to talk.” harry flashes you a weary smile. “have fun in there, old sport.” you’re too busy biting the skin off your bottom lip to respond. “mhm... she will,” mj speaks on your behalf. even she sounds worried. saluting you both, harry leaves to go pester your other colleagues. you’re completely and totally fucked.

“that’s it for me!” you grin sarcastically, freaked out by harry. “i’m fired, aren’t i? i’m definitely about to get fired, and it’s all because-“ “relax!” mj cuts off your rambling. she reaches down and grasps at your wrists. “get it together, y/l/n. you’re the best we have, okay? you aren’t going anywhere.” your grin becomes a frown. “then why does norman wanna talk to me? and, why don’t i have a story?”

mj always has the answers, but this time is the execption. she lets out a breath. “i don’t know. you’ll go find out and tell me what happens.” there’s no use protesting. you’re going to have to face whatever you’re about to at some point. “ok,” you give in, defeated. “i’ll be back soon, i hope.”

the walk to norman’s office feels like a walk of shame. mj can do nothing but sit back and observe it. if this ends the way you think it will, you’ll be collecting your things and won’t ever return. norman is a kind man, and he’s usually pretty understanding. he doesn’t mind the workplace shenanigans as long as you get your job done. unfortunately, you haven’t today.

you hear your boss’s booming voice when you approach his door. inhaling deep, you knock on it, and the room goes silent. “come in,” norman responds after a few seconds. mustering up a smile, you open the door to be met with your doom. “hi, am i interrupting something?” you check. “not at all! you’re just the person i wanted to see. sit, sit,” he beckons you over. he’s not using his angry voice, so maybe you’re in the clear. you enter the room as told.

you’re shocked to see a terrified peter is already in one of the chairs. he visibly relaxes a bit now that you’re here. what the hell is happening? whatever you were expecting, this was the last thing.

taking the armchair next to peter, you sit facing norman’s desk. you nudge his arm to get his attention. his big brown eyes lock with yours. “what’s going on?” you whisper. “no idea,” peter whispers back. the two of you turn to norman again when he claps his hands. he’s plopped down into his cushy leather seat.

“so,” he begins, gaze flicking from peter to you. “you kids know why you’re here?” “is it because i missed my deadline?” you blurt out. you’re once again a nervous wreck. peter doesn’t speak, just winces. “not that. although, i did hear from ned that you turned down his assignment.” norman flicks at a post-it on his desk. “i asked quentin for one instead. me and mj,” you explain, peter’s eyes going wide.

“you talked to quentin? that guy’s bad news,” he murmurs to you. “how so?” norman questions, since it’s his employee. “he- he, um,” peter clears his throat before answering, “he’s super critical, you know? hates all my pictures.” “i love your pictures,” you assure him, the corners of his lips turning up. “your style is so cool. yeah, though. quentin’s pretty bitter.”

considering this, norman drums his fingers on the desk. “i’ll look into that. but, that isn’t why you’re here. i’m letting you off the hook this time.” your whole demeanor changes and a huge weight lifts off of you. “really? you are?” “i have a scoop of my own that i want you to cover,” he continues, peter bumping your knee happily. a toothy grin takes over your face.

“since peter will be sticking around for a while, i want him to join you.” norman waits a beat in case you have any questions. it’s been a minute since you last worked together. peter laughs in disbelief. “you want me to take over for alex and do this?” norman nods proudly. “y/n will need the extra hands, if you have them.” “yes, sir. i do,” peter immediately confirms. “my last class is next thursday, so i have the time.”

“wait, so you’re almost done? that’s awesome!” you bump peter’s knee this time. “yup, all that’s left is finals... and studying.” he mindlessly takes your hand, lacing your fingers together. you’re enjoying his gentle touches. “thank you so much, norman. seriously, i appreciate this a lot,” you tell him and mean it. “hey, no problem,” he chuckles at your eagerness. you grip peter’s hand tighter.

“what’s the story?” “ah, yes. the most important part,” norman starts, peter sharing an excited look with you. “how familiar are you two with spider-man?” his excitement fades at the question posed. it’s unbeknownst to you, caught up in the moment. “uh, same as everyone else, i guess,” you casually reply. “how come?” “he’s your subject.” norman points at you both. “you’re gonna study him over these next few months.”

peter’s hand goes limp in yours, and he gulps hard, throat feeling dry. “you mean, like, an exposé?” “no, no. there will be no exposing,” norman clarifies. “i’m sure he wears the mask for a reason.” that settles peter only slightly. you’re not sure why he’s so tense all of a sudden. “what’s our aim here, then?” you steer the conversation.

“see what new york’s favorite hero gets up to every day, how his life is beyond the crime fighting,” norman further describes your task. peter exhales a shaky breath, shifting away from you in his seat. the golden sun hits his face and reveals a bead of sweat dripping down it. you stare at his figure in worry. “you okay, peter?” “fine. i’m just... hot,” he murmurs back. his sweater does look pretty heavy, so you concede.

getting back to norman’s story, you grimace at the idea. “do you really think people will want to read that? for lack of a better term, it sounds kind of...” you pause. “basic.” “i thought the same thing at first,” he surprisingly agrees with you. “harry pitched the idea to me this morning. you won’t believe it! the other night, he caught spider-man hanging outside his window.”

“harry... harry saw him?” peter squeaks out. he uses the wool material that feels like it’s swallowing him to dab at his forehead. “he stopped on his balcony. must have been pretty late, the kid’s a night owl,” norman says about his son. your face lights up as you listen to him. “he took some shots of spidey in action, when he swung off. i saw a few. they were pretty great.” he’s grinning at his son’s success.

“maybe he’ll get into photography with you, pete,” norman suggests. peter gives him a weak smile in return. “we’d be happy to have him.” he usually has a lot more to say about his career than that. his behavior is starting to genuinely concern you. “anyway,” norman gets back on topic, “it got me thinking. how much do we really know about this guy? we’re supposed to blindly put our trust in him?”

you’re beginning to see the appeal now. you’ve written your share of pieces on the avengers and their methods, tackling the same questions norman just asked you. spider-man shouldn’t be overlooked, especially when he operates so close to your home. this could be another revolutionary superhero story in the making. and, you get to bring peter along for the ride.

“you know what? this has a lot of potential,” you smile at norman, then peter. he has his phone in his lap, fingers flying across the screen. it must be something important. you’ll discuss with norman while he takes care of that. “we could make it a weekly thing, about spider-man’s adventures. find out what we can about the man behind the mask...” peter shoots up in his seat. “without taking it off,” you finish, putting his mind at ease.

“see, i knew you were gonna love it! it was a blessing in disguise, you missing that deadline.” norman bangs his fist on the table with a hearty laugh. “what do you say, peter? you still in?” peter slips his phone back in his pocket. his tongue pokes out to wet his lips. “oh, of course. i can’t wait to work with you, y/n/n,” he speaks in a monotone voice, adding on, “again.”

something is definitely bothering him, and it isn’t the weather.

“i gotta go. betty needs me upstairs, so,” peter moves to get up, his body stiff. you assume that’s who he was texting. “thank you again, mr. osborn.” he’s rushing out of the room just like that, until you call after him. “um, don’t you wanna set a time to meet up? so we can get started?” you reasonably ask. “i... i really gotta go. find me later,” peter tells you, giving you both a tight lipped smile and running off.

“the dynamic duo is back!” norman announces to you. you’re disappointed you can’t share that sentiment with peter.

he’s absolutely booking it down the stairs, not bothering to wait for the next elevator. this is bad. this is a nightmare.

peter went from having one of his best days in a while to the worst in not even a full round of work. today started off fine, and got better when norman promoted him. it got way better when you came along. he saw your smile that makes his insides tingle, heard your laugh that’s the prettiest sound to grace his ears, held your hand that he never wants let go.

things went a bit downhill after that. betty was pushy and yelled at him a lot, demanding he only film her good angles for the segment. you and mj weren’t wrong when you told him to be careful.

later on when he saw you again, everything was okay. he was physically shaking as brad told him mr. osborn requested to see him. brad is mr. osborn’s assistant. a try-hard for sure, but good at his job. why did mr. osborn call him in? did betty complain already?

they’d been sitting in mostly silence, save for small talk until you came knocking on the door. simply being next to you was enough to ground peter and his racing thoughts. it was enough, then it wasn’t.

the whole day had gone to shit after he found out you were going to be writing stories about his alter ego. not only that, but he was helping. during the pitch, he’d texted ned to meet him in the bathroom. he was really anxious and needed a friend who understood why.

ned accidentally found out peter is spider-man last year. it’s a long story that involves peter hiding from some bad guys in the building and ned shrieking so loud the lights flickered. they’re cool now that peter talked things through with him. his secret has been kept, from what he knows.

pushing open the men’s bathroom door, peter is a mixture of sweat and ragged breaths. he’s panting from his fast descent down the staircase. he takes in his disheveled appearance using one of the mirrors. his styled hair is now damp and undone, hands trembling and palms sweaty, chest heaving. here’s his daily reminder that anxiety is not cute. as if he didn’t know.

his stupid, gigantic freaking sweater is only making things worse. it’s suffocating him. no one else is in here, so peter pulls it over his head and tosses it to the ground. he’s got a t-shirt on underneath that happens to be black. what a convenient day for him to wear the hottest material there is.

peter splashes his face with some cold water next to try and cool himself down. that doesn’t do much for him. his face still feels like it’s on fire, but now it’s wet. he takes his hands through his mop of curls, backing away from the sink.

“fuck. fuck, fuck, fuck,” peter repeats to himself. he’s silent for a moment, then rage overcomes him. he kicks open a bathroom stall. “shit! i can’t do this. what am i supposed to-“

the door creeks open, so peter shuts up in case it isn’t ned. it thankfully is, and he wears a deep frown at the sight of his best friend. “dude, what happened? you look...” “terrible. i know,” peter finishes for him. he tugs at his locks in another attempt to tame them. ned approaches him carefully. “you’re not, like, dying... are you? because betty was telling me you have to-“ “of course you were with betty,” peter exhales in frustration. “no, ned. i’m not dying.”

in ned’s defense, the text he received was very alarming. all peter wrote was, ‘EMERGENCY. SOS.’

“i mean, yeah. it was my break.” ned sits on the ledge by the window, close to peter. “you do the same with y/n.” the mention of your name upsets peter all over again. he hides his face in his hands as ned watches. “if you’re not dying, then what’s the problem?” ned finally asks. “me and y/n...” peter removes his hands from his face, meeting ned’s worried eyes. “mr. osborn wants us to do a project together.”

“uh, peter? you’ve been saying how much you miss her forever, dude! you’re not excited?” ned snorts at him. he means well, but he has no clue what he’s talking about. “no. it’s supposed to be about spider-man,” peter answers angrily. this isn’t the support he was hoping for. realizing the severity of the situation, ned gets serious.

“oh... but, you’re still doing it?” he questions. “i didn’t have a choice,” peter scoffs out. “i can’t let either of them down.” “you’ll expose yourself!” ned escalates things further. “it’s not like that. we’re gonna follow spider-man around and post updates on him,” peter says, technically in the third person. he’s given an are you insane? look from ned.

“you are spider-man! and, no offense, but you’re not so good at hiding it,” ned refers to himself finding out. “how are you gonna be in two places at once?” damnit, peter hadn’t thought about that yet. he can’t be taking pictures of spider-man and swinging from building to building simultaneously. “i- i’ll figure it out,” peter stammers, unconvincingly.

ned looks him over in a disapproving way. “jeez. you’re really putting your life on the line for this girl-“ “woman,” peter interjects, not loving ned’s attitude towards you. “have some respect.” unfazed, ned gets up from the windowsill. “speaking of women, remember betty? you’re still on the clock,” he changes the subject. peter nearly forgot he has to go film her segment.

“i’ll head up to her now,” peter gives in. he scoops up his discarded sweater, not bothering to check his appearance again. ned follows behind him to the door. “we wrote her script together, you know,” he gladly informs peter, who already knows from you. “not really a flex,” peter mumbles his response. “peter, lighten up.” ned hits at his shoulder. the two of them exit the bathroom.

“you’ll figure this out later. i can always help.” he shoots him a sugary sweet smile. “thanks, ned. for talking with me and everything.” peter doesn’t smile back. they do a quick bro handshake, then they’re going their separate ways. “have a good show, dude!” ned yells back, to which he doesn’t get a response. peter doesn’t have it in him.

he allows himself to take the elevator back up to broadcasting. he’s so drained from the several anxiety attacks he endured. while peter waists for the elevator, he contemplates all the issues he’d better solve. it’s a relief to hear it ding because it brings him back to earth. that doesn’t last long because both you and betty are there when the door opens.

you’d each had the same idea, to find peter. unlike betty, your intentions were good. you asked liz if she saw peter leave. she told you he went downstairs, so you did also. betty was already in the elevator when it got to your stop. she was looking for him because, you guessed it, he had to record the news. the small space was filled with tension as you and betty occupied it.

“perfect. we’re going right back up,” betty beams, motioning for peter with her index finger. “hop in!” “coming,” peter does as told, going to stand between you and betty. she presses the button for your floor and theirs. the doors close. “pete?” you speak up, voice soft. “you kinda ran off earlier. i thought you were with betty.” “clearly, he wasn’t,” betty sneers.

you’re less concerned with her and more with peter. the sweater he looked so huggable in is now folded in his arms, his face splotchy and jaw clenched. he must have gotten triggered by something back in norman’s office.

“are you sure you’re okay? you... you can talk to me about it.” you take a step closer to peter, your doe eyes searching for his. he meets them with a tiny smile. at least, it’s real this time. “i’ll be fine, y/n/n. ‘s nice that you came to check on me, though.” “don’t mention it.” your arms loop around his neck and bring him into a hug. peter hugs you back by your middle, chin resting on your shoulder, breathing out in relief.

you keep your hands on his shoulders when you pull back. his stay on your sides, a lopsided grin now crossing his features. “spider-man...” you quirk an eyebrow. “how are you feeling about that?” “should be cool,” peter somehow maintains himself. “i’m mostly looking forward to doing it with you.”

listening in, betty joins the conversation. “what’s happening with spider-man? anything i should know?” her hand reaches into her bag and emerges with a notepad. does she ever think of her own content? “she’s nothing if not persistent,” you grumble to peter. chuckling, he pulls you into his chest. if he didn’t hold you back, you would’ve pounced on her.

“we’re gonna do a piece on him,” peter tells her. “you can’t copy or steal this one because it’s already been approved,” you contribute, smiling smugly as peter holds you tighter. betty is taken aback. “are you accusing me of stealing? who said i-“ “ned ratted on you... sorry,” peter says in a sing song voice. squealing, you jump away from him. “he did? we were right?”

“mj’s never wrong,” he reiterates. “mj knew about this? oh my god, i can’t believe her!” betty stomps her foot. “we got you on candid camera.” you make a clicking noise with your mouth. peter mimes taking a picture to back you up. “alright, alright. i won’t do it again,” betty mumbles, turning away from you two in annoyance.

“finally!” you hold up your hand for a high five, which peter gives you. “we really do make the best team,” he hums. your fingers intertwine with peter’s, and he lays his palm flat against yours. he prays extremely hard you don’t notice that it’s sweaty. you do, but you couldn’t care less.

“i was wondering when you’d wanna start our... research?” peter asks you, his lip between his teeth. “you were saying something earlier. maybe we could make a schedule.” “how elaborate of us that would be,” you tease. that earns a breathy laugh from peter. with a knowing smile, you put your free hand back on his shoulder.

“what are you doing tonight?”

peter parker taglist

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if i forgot you please lmk!

#peter parker #peter parker fluff #peter parker x reader #peter parker x y/n #peter parker x you #peter parker imagine #peter parker fic #peter parker fanfiction #peter parker smut #spiderman #tom holland #tom holland fluff #tom holland smut #tom holland x reader #tom holland x y/n #tom holland x you #tom holland imagine #tom holland fic

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theoi-crow · 3 years

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hi. i hope youre doing well. i really really love your blog, its truly inspiring. i was wondering though if you could give me some advice.

ive been trying to build a relationship with Ares for the past couple months, and it had been going well. I'd sense a comforting warmth whenever i lit a candle for him and journalled, but one day, i dont wanna get into details but, I said something to him while he was around and immediately, the entire room went cold, like he quickly pulled away from me. i felt and still feel terribly guilty for offending him.

it was like two months ago and since then, i havent been able to reach him or sense him like i did. i feel terrible and i think it's affected my relationships with the other Gods im learning about/trying to get close to. i just dont want to offend any of them.

is there any way i can properly apologise to Ares, and the Theoi in general, i suppose? i know i need to work on taking my relationship with Them a day at a time, and i wanna start fresh. any advice would be so much appreciated. thanks.

Hey, I'm sorry this took me so long to reply to, I've been having a rough time and am currently going through a lot.

I don't think your problem is with Ares himself but with your Shadow Self:

I strongly encourage you to look at your upbringing in relation with religion, especially if it's a religion your family still practices and how it has conditioned you to see the gods.

A while back I talked a bit more about how your upbringing affects your relationship with the gods because your subconscious mind is shaped by your childhood (most of the links are broken in the post because I changed my name but the shadow work link still works): (LINK)

I recommend looking into why you perceived him to react this way and if what you said was something that previously got you in trouble with your care-givers?

For example, in the beginning of my worship, playfully calling the gods "losers" was a biiiig no because I came from a very strict religion that saw it as blasphemous. It's another reason why I can't be formal with the gods without feeling a wall between us since I was raised to believe God was unreachable and only the priest could reach him on my behalf so I was expected to be very respectful and formal so the priest could put in a good word for me. It was a miserable experience and I always felt alone in my spiritual journey.

I later learned the gods are a lot more willing to go at my own place and understand we are human with human flaws and human needs. Here's a post I strongly encourage you to read: (LINK)

Things to think about:

Are you new to working with pagan gods?

There's no shame in being inexperienced but you might not be familiar with pagan deities which are very different from modern religious figures and have been literally demonized by Christianity and perpetuated by the Media. (A perfect example of this is Apollo Luciferos and Lucifer: LINK and how the media portrays the gods: LINK)

What do you expect from Ares?

Your expectations of a god do affect how you see the god,

for example, I have a lot of shadow around working with people who have a lot of Apollo energy and so my relationship with Apollo often requires extra help, either from other gods or my spouse who has an amazing relationship with Apollo. I have also noticed people who have problems with Aphrodite's domain have a hard time working with Aphrodite.

Is there a domain that falls under Ares that you're having problems with?

Your own psychology.

Sometimes our psychology affects our relationship with the gods or cuts communication.

For example, I recently broke an ancestral curse and while that's great, it has triggered a lot of PTSD attacks as I clean up the fallout of that broken curse. Unfortunately one of the side effects is that I'm currently unable to talk to the gods. Not because I don't want to but, I just can't and I know my current mental state is temporary but it is a good reminder of how your current mental state affects your ability to sense the gods.

Did something change while you were talking to Ares or did guilt strike right after?

I honestly believe you did nothing wrong and sense your shadow self might be trying to keep you from working with Ares. I hope things have changed since you sent me this ask and will leave a few links in case they help further:

Imposter syndrome: (LINK) and (LINK)

Ares and boundaries: (LINK)

I hope these help!

#Ares #Greek gods #helpol #hellenic polythiest #ares worship

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janeaustentextposts · 3 years

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As someone from a postcolonial country, am I the only one who dislikes Colonel Brandon because he is literally a coloniser?? Idk if I am unreasonable or extreme but Colonel Brandon canonically perpetuated the exploitation of my people. This is one of the few JA blogs out there that critically analyses Colonel Brandon as a character so I wanted to know your thoughts on this.

Yeah, the reality of Britain’s colonial past looms large where there are military characters. Given the Napoleonic wars, generally-speaking the Army and Navy characters are thought of as simply fighting against the French during that very specific engagement (and shows like Sharpe haven’t much helped push back against this idea,) but the British Empire was putting down its roots globally long before Napoleon had come into any kind of power, and Sense and Sensibility in particular was written in the late 1700s so there’s no reason to suppose Colonel Brandon’s engagement overseas was ‘protecting’ any home interests, but rather colonizing other nations. (Really makes ‘the air is full of spices’ line from the 1995 film feel less ~cool~ and more creepy exoticizing of a place that was absolutely exploited for the spice-trade, among other things. The genteel British people don’t really question this, and I wouldn’t expect most of them to, being products of their times, and Orientalism was even fashionable at the time, which is why the spice line is meant to show how worldly and interesting the Colonel is supposed to be, compared to the idea of a dull do-nothing landowner. But doesn’t stand up to deeper scrutiny when you consider the larger implications of what the army he was with was DOING in the places he visited. He wasn’t backpacking on a gap year, and even backpacker culture is its own can of worms, but I digress.)

Even my favourite, Captain Wentworth, isn’t exempt from this criticism. There’s obviously more heavy Napoleonic engagement within the recent scope of his career given the later time-period of the novel’s setting, BUT during less tumultuous times, his work would take him beyond conflicts between European powers to the places where European powers were carving up chunks of the known world for their own exploitation, and the Navy was a vital part of protecting those imperialist/capitalist interests.

The 1999 Mansfield Park adaptation is the only one I know of that even attempts to address British imperialism, specifically the slave trade, and it’s not neatly resolved, and that’s both realistic and frustrating to modern viewers. I don’t know if they had enough time and space to devote to even trying to unpack the hugeness of that issue, and if that was the aim, they failed; BUT a more charitable interpretation is that they were aware there was no tidy easy answer that would make everyone feel good about themselves, so the ambiguity was left in and the story moved on. Sir Thomas is a monster and Fanny knows it, but he has a very weak change of heart and seems to feel some shame at being found out, but it’s way too big a thing to dissect in what’s left of the film. Maybe it’s a commentary on the moral compromises some people feel forced to make in order to survive--as Edmund says, ‘we all live off the profits, including you,’ to Fanny, who is THE most dependent on Sir Thomas’ money, and in the least powerful position to push back against Sir Thomas’ horrific actions as a slaveowner. But as we know, there are very few parts of the British upper classes which were NOT tied to these abuses and exploitation, at the time.

We have only to scratch the surface of discussions of history coming out of the anger around monuments and street-names in major British cities and towns after major historical figures who had been previously seen as great philanthropists and change-makers in British history, who had known involvement in the slave-trade and other such despicable practices. These people were embedded in the whole society Austen was writing about, so the darker implications of Britain’s actions in the wider world will always find their way into the setting of the stories. Austen herself was in this society, and to some extent perpetuating the culture, because it would not have occurred to her to question it. Her novels don’t directly address politics, but certainly they’re informed by them, because the political is personal. Figures like Brandon and Sir Thomas Bertram are probably the easiest examples to make as their involvement in atrocities is easily presumed from their contexts, but really anybody in the novels would have to be living as a hermit under a bridge to avoid some second-hand consequence from the broader imperialist structure of society taking hold at this time.

#Ask Me Anything Austen-Adjacent #AMAAA #Jane Austen #Colonel Brandon #Sense and Sensibility #Persuasion #Frederick Wentworth #Mansfield Park #Sir Thomas Bertram

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fandomn00blr · 3 years

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Old Wound

I hurried up and jotted down this little one-shot for Strigana Week (@striganaweek), because these vampire wives are my favorite, and they deserve some more attention! Today’s prompt is ‘Scars & Comfort’ and, uh, well, I guess we’re talking pretty literally here. This also forced me to do a lot of superficial internet research about everything from an ancient synagogue in Sardis (ok, so that didn’t make it into this piece...), the 13th century Mongol Invasions in Hungary (that’s how I’ve decided Striga dies), to the development of synthetic ‘cobalt blue’ in Paris in the early 1800s (relevant to Morana’s interests, obvs), which, if you squint hard enough, you might be able to see in some of my head canons about their past and future adventures! Hopefully, I’ll do more with all those things later, cuz boy howdy, did I dive down some rabbitholes...

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“Striga…” Morana calls from the bedroom.

“Curse that apothecary!” Striga hisses, slamming her fist down onto the bathroom vanity and rattling Morana’s perfume bottles. “I will return tomorrow night and drain him within an ounce of his pitiful life!”

“Now, now...before you get murderous, why don’t you give me a chance to soothe your old aches?”

Striga finally turns to look at her, and the pained expression on her face just barely softens when she sees that Morana has changed into the cobalt blue and black silk chemise she purchased on their most recent trip to Paris. Striga had found the ‘modern city’ dirty and confining, full of bustling humans whose short, insignificant lives seemed to dictate that they always be on the move, always building, growing, doing. But Morana...well, she always had been much better at adapting. She truly enjoyed the city. Delighted, in particular, by its streetlamps which defied the nighttime, and allowed its people to be lured into a false sense of safety, as if they could ever truly own the night. There was also the music, the art, or rather, the artists...and of course, the river.

Morana sits up, swinging her legs to the side of the bed and patting the mattress beside her. “Come to bed.”

“I am sorry, but I’m just not in the mood tonight, my love.”

“I know. You are in pain. And I want to help. Which is it? Your neck or your lower back?”

“The...original wound,” Striga mutters.

“Ah, yes. Of course. Is it really that time again?” Morana asks, feigning ignorance much more poorly than Striga knows she is capable of. “It had completely slipped my mind...”

Striga rolls her eyes. The special nightie suddenly makes a lot more sense, even though they had agreed long ago that formally commemorating the date of their first meeting had become unnecessary and tedious when they had all of eternity to spend together. Anniversaries, in celebrating another year around the sun, seem just a bit too human for Striga’s liking.

But her shoulder hardly seems to care that she is immortal, and insists on keeping the mundane ritual each year by reminding her of her last mortal wound.

Morana smiles and waves her over impatiently, and Striga complies, slumping down onto the mattress next to her with an annoyed huff. But as Morana moves around behind her and begins to massage the tense, bulky muscles in her neck and shoulder, she lets loose a small sigh of relief.

“Shall I kiss it to make it feel better?” Morana asks, working the heels of her hands into her.

“If you must…”

Morana pushes the collar of Striga’s tunic down off one shoulder to reveal a large scar, paler than Striga’s skin, running from her chest, over her shoulder, and down her back, almost like a shoulder strap. She presses her lips softly to it at first, kissing her way up along the gruesome mark, and reaching one of her hands around toward her breast.

“Morana…” Striga groans admonishingly, remembering the fear and panic she'd felt as she lay bleeding out from the giant axe wound that had nearly taken her entire arm off. She'd prayed to her gods, then -- not the prayers of gratitude and victory she had practiced, but the prayers of a coward -- to Erlik, that he send death quickly to end her suffering, whatever his judgment.

“Fine, fine…” Morana opens her mouth, exposing her long, delicate fangs, and sinks them into Striga’s shoulder with quick precision. Striga tenses at first, inhaling sharply, but then lets out a long, slow exhale. Morana withdraws, then moves further down her back and does it again and then again, leaving a trail of tiny puncture wounds all up and down the scar. With each inhale and exhale, Striga begins to melt back against Morana.

Death came to her, of course. But not in the way she'd expected -- not some ugly, bone-bleached shepherd, pointing her toward her desolate afterlife like she’d been taught. Instead, it came to her as a goddess, beautiful, brown-skinned, with pale blue eyes glowing like beacons in the night of what was supposed to have been her greatest victory as a human, a battle she just barely remembers winning, if being the last one left breathing amid a pile of fallen allies and enemies counts. Striga no longer even recalls who or what she had been fighting for. But she does remember the sweet things Death whispered in her ear as she dragged her dying body to the blood-stained Danube and emptied her of the rest of her life, draining away the pain of her own mortality. And even sweeter things as the goddess granted her something new. Something better. Something everlasting.

“You have always known how to soothe the worst of my pain…even from the beginning,” Striga says, closing her eyes as Morana wraps both arms around her and pulls her into her lap.

“I was simply hungry, darling.” Morana drags her long nails lightly over the scarred part of her chest. “The smell of fresh blood is what drew me to you. But you were exquisite, even with that garish wound...how could I let that go to waste?”

Striga laughs, loud and triumphant, and opens her eyes to look up at her. “Well then I’m glad I had enough blood left to sate your appetite.”

“Oh, no. I could never have enough of you.”

Striga reaches up for Morana’s chin. “Never?”

“Not ever.” Morana leans forward, capturing her lover’s lips between her teeth. She doesn't bite. Not too hard, anyway, and Striga lets out a sort of purr, low and deep in her throat.

She sits up, and pulls Morana around in front of her, deepening their kiss as Morana slides into her lap, her hands reaching back over Striga’s broad muscled shoulders and around her neck.

“Mmmm…” Morana hums. “Feeling better so quickly?”

“Why do we even bother with worthless human medicine?”

“The humans have proven useful,” Morana reminds her. “If not for their petty wars, we would not have met. Or done nearly so well for ourselves over these past six hundred years.”

She reaches down for the hem of her nightshirt and starts to lift it over her head, but Striga stops her with both hands, grasping her wrists and tugging it back down to her hips.

“Leave it on,” Striga growls.

“And they made this!” Morana laughs, shrill and delighted. “Which seems to be doing something for your old war wound.”

“Yes...well, it is your color.”

“And much easier to find these days, thanks to human ingenuity!”

“Hmmm...if only their chemists were as good at synthesizing blood or immortality as they were at dying frivolous nightclothes…”

“Frivolous?! How dare you!”

“Not as frivolous as starting a war over precious stones to crush into dust to dye your favorite dress, I suppose…”

“Ah, but I do sometimes miss those days!”

Striga rolls her eyes again, and then buries her face against Morana’s neck, pulling the blue silk strap away from her collarbone with her teeth and letting it fall delicately off her shoulder.

“Oh...now who’s enjoying being frivolous?”

#striganaweek2021 #castlevania #striga #morana #strigana #scars #comfort #vampire wives #oh and did you know vampire fangs are marvelous for acupuncture?#no?#neither did i until i started writing that part #feel free to ask me about my head canons so that i'm forced to write them down instead of forgetting them #i mean if you want #i love them so much #my writing #this will probably get cleaned up/added to and posted to AO3 when I get a chance

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bigskydreaming · 3 years

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Tom is already rehashing some things, like too many homages to the nineties run, Zucco's daughter plot point, Beatrice had ideas for societal reform he's taking that and giving it to Dick. It'll probably be half hearted, but it stings that Beatrice left just a few issues ago and she's already completely forgotten for the sake of DickBabs or a love triangle.

Like the thing about the nineties runs is I mean, as much flack as we give various elements of them, there’s so much from that time period that was good? Great, even! Just....myself and the writers seem to have very different opinions on what the most interesting elements of the nineties comics were, oh well.

And omgggggg I’m still so mad about Bea, and its literally Shawn Tsang all over again. The writers keep introducing new, interesting characters, investing just enough time and focus into them to have us interested in them and wanting to see more.....and then they toss them aside to go back to drawing from the same well as always.

And the thing is, this isn’t even about me not really being a Dick/Babs shipper, because honestly, I’m not enjoying the Dick/Kory stuff in what I’ve seen of Titans Academy either, and for the exact same reason:

When they create new characters like Shawn and Bea, they KNOW they’re starting from scratch and need to build interest in those characters from the ground up. So they’re forced to put their best foot forward. There’s no short cut there, if you want people to care about a brand new character you have to give them REASONS to care. You have to make those characters likable, you have to make people WANT to root for them, you have to hook them with intriguing backstories that don’t feel formulaic and new angles that don’t feel just derivative of older characters, and that’s how we got stuff like Shawn’s history as a former sidekick to a villain and now running a support group for rogues trying to turn their lives around, and Bea’s work in societal reform.

But then the second they stop having the patience to build the new characters up enough that the interest in them can actually start to reach the levels that lets older characters last and grants longevity....they just toss them aside and move on....except they never really move on, just backwards. Because the problem with so MANY superhero couples, far from just Dick and Babs or Dick and Kory, is just....how lazy it seems to make so many canon writers. They just fall back on rehashing the same old tropes and just updating popular moments that resonated with fans in the past, now just recreated with a slightly more modern twist but without ever really being anything new.

Even with ships that I’ve never really been sold on in the past like Dick/Babs, I’ve always said, there’s usually nothing stopping me from GAINING interest in them.....its just....the writers have to GIVE ME A REASON TO. And so many of DC’s writers just aren’t even trying. They’re just moving parts around and pushing characters together in various arrangements like everyone’s just a puzzle piece that you can mix and match however you want......and then just basically expecting readers to be interested purely because of who the characters are, or because it hinges on a nice moment that they then milk the hell out of without ever expanding that into building actual STORY around these moments but rather just squeezing each one til they get everything they possibly can out of it and moving on to the next as though its all just about chasing the next soundbite...because it is! LOL.

And honestly, this problem extends far beyond just the Nightwing title or the Batfam or Taylor’s run or writing in particular.....its a company wide issue right now. In fact I would bet just about anything that its a matter of editorial edict, that even before Taylor started his run DC said okay here’s the approach we want everyone taking with their stories right now:

And that’s like.....its all about banking on nostalgia and the comfort of the familiar right now. I think Taylor is drawing all these elements straight from the 90s Nightwing comics, like Blockbuster and Dick having been a cop, etc, because these are the elements of past Nightwing stories that are so well known. Its the same reasoning behind why they put Tim back as Robin and so many of their new characters are just new spins on old faves like Punchline and Harley Quinn, and why they’re pushing all these older ships that haven’t been together in ages and why specific team lineups are reappearing....its because nostalgia is the name of the game for DC right now, and all their writers are just pulling together threads of classic stories that have stood the test of time, figuring anything that landed particularly well with fans in the past will sell with people here and now, and weaving these threads together and brushing over them with a modern social issues veneer.

As an approach, its basically all just about repackaging previously successful story moments and elements with just enough changes or in just new enough a configuration that readers aren’t likely to complain en masse that like “hey we literally already read all this. We’ve already BOUGHT these issues. When we were kids.” Its minimizing creative risk while maximizing monetary profit. Spend as little creative capital as possible outside of anything that’s already been successful in the past and as such is a relatively proven quantity, instead of testing new material that’s an unknown and runs the risk of falling flat and thus not being profitable.

And see, I’d almost guarantee that all THAT, that whole line-wide approach to DC’s storytelling, is because the powers that be looked at the last several years of stories and how many of THEM fell flat with readers, and decided that the problem was they’d BEEN trying too much new stuff and readers just didn’t like it. Because they WERE concentrating on presenting totally new stories and building up new ideas throughout their books.....but readers have been pretty vocal for years now about being disenchanted with most of DC’s major stories. And so DC I think looked at that and came to the conclusion that okay, people just don’t want new right now, they want the familiar.

But like.....DC’s problem IMO was never that they were trying new stuff? The reason so much of their new and original storylines weren’t gaining traction or bringing in readers and kept shedding old readers had absolutely NOTHING to do with them being new and previously unseen storylines, which makes falling back on nostalgia very much a non-solution to entirely the wrong problem.

No, DC’s problem for years has been that they’ve been all about spectacle instead of story. There’s ZERO emotional pay-off to any of their biggest plot twists or character beats, and emotion is LITERALLY what people read stories for. Its all about racing to the climactic action packed finish of every storyline and then immediately resetting everyone back to square one and jumping straight into the next big story, without ever giving the events of any of their stories time or reason to MATTER to the characters.....and if they don’t matter to the characters, our proxies that we’re viewing these stories through, then why should any of it matter to us? Why should any of it linger, dig in roots, resonate with us as moments that left an impact and that we accordingly want more of?

And again, like because I’m a Dick Grayson focused blog I’ve obviously largely been focused on how much I dislike the SPECIFIC reactions or non-reactions to so many of the major beats in his stories.....but it was spread throughout their entire line.

Bruce and Selina almost got married....but why should anyone care outside of Tom King’s title when nobody else seems to, no other characters feel anything about this, and Bruce in none of his other appearances seems the same as ever without any reminder that he just almost got married but then didn’t.....and if the characters don’t ever seem to be affected by or feeling a need to revisit or reflect on recent stories, why should we bother remembering them either?

Jason was dramatically and fucked-upily (yes its a word, I totally looked it up and everything) exiled from Gotham....and then all of that is undone in a single issue with one low-stakes awkward conversation between him and Bruce. Damian quits as Robin and goes off the map and everyone in his family is like “hey don’t we have a littler brother, I feel like we did maybe” for one panel per story arc, and that’s it. Roy’s back from the dead and everybody’s like oh hey cool instead of the kind of return we used to get like when Donna came back and everyone was like oh shit, this MATTERS, because we MISSED you....just like Dick’s death never mattered to anyone but fans of his character because much like I was just saying earlier with them not really giving me a reason TO emotionally invest in Dick and Babs’ relationship if I wasn’t already, same thing with the aftermath of Forever Evil. They didn’t give anyone else reason to emotionally invest in that as something that HAPPENED to Dick and that he was AFFECTED by....because the writers didn’t bother writing him as all that affected by it and it was just like oh he’s a spy now, all that was last year’s content, we’ve moved on, keep up.

And on and on it goes. Ric Grayson was the same problem all over again. Rinse and repeat down the line with everyone from Wally to Donna and etc etc etc.

THAT’S why DC’s stories have been falling flat. It has nothing to do with people not being interested in new ideas, characters or directions, its that’s ALL they were giving us, but it was like just reading wiki summaries of events just alongside pretty art, but no real emotional weight or substance to anything we were reading....and thus, literally nothing that we couldn’t get much the same outcome from if we just...stuck to reading wiki summaries after the stories were over, with no real need to follow along with them. For years most fans have basically just been about keeping up to date with changes in the characters’ lives, but without feeling any real need to watch those changes unfold and play out.

And so honestly I worry we’re just gonna be subjected to a company wide rehashing of old and familiar storylines, directions and character beats, but repackaged and delivered in the exact same way DC was delivering us their new stories and ideas these past years....and its basically going to have the same results, because its the same problem. They didn’t actually fix anything by switching gears, they just shuffled around the actual issue.

And DC’s just gonna be like well now wtf are we doing wrong, we were so sure this would work, everyone LOVES nostalgia right? Did we pick the wrong stories and character beats to bring back?

When really its like......it honestly doesn’t matter WHICH stories and beats they rehash, because its not about them picking the ‘right ones,’ the real keepers, the stories that everyone really WAS eager to see brought back or made new again.....

Its about like, the only reason any of those stories or beats or dynamics stood the test of time and are still familiar and well-known....is because the stories AROUND those moments and ideas gave us reason to emotionally invest in them and retain them as crucial to our view of the characters and things that would resonate and stay with us for a long time.

It was never that any of those ideas or stories were just so innately brilliant that they couldn’t help BUT linger in the overall reader consciousness...it was the fact that we CARED about what happened in those moments and stories.

*Shrugs* But I mean hey, what do I know? I’m just a dude on the internet lolol.

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earthstory · 4 years

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The New Madrid Seismic Zone About once a year, residents of the counties at the border between Kentucky, Tennessee, Missouri, and Arkansas will feel the ground roll beneath their feet. This image maps out the location of earthquakes in this area over a 30-year period and clearly illustrates a major feature: the New Madrid Seismic Zone. This zone produces about 1 quake that can be felt per year in addition to many small earthquakes…and has historically produced really big ones.

The pattern of earthquakes clearly traces out a fault with 3 segments. This fault is not exposed at the surface; these earthquakes take place about 10 kilometers below the Earth’s surface on faults that are remnants of the continent’s ancient history. The story of the New Madrid Seismic Zone begins over 1.5 billion years ago. The continent that would eventually become North America was growing by adding volcanic arcs onto the core that is today found in Canada, expanding outwards a block at a time, when something changed. The center of the growing continent began to pull apart, forming a long rift valley. That valley is named the “Reelfoot Rift”. We don’t know exactly what all the plates were doing that long ago, but its clear that the continent started opening and things stalled. A comparison might be the East African Rift Zone today; the Arabian plate has fully pulled away from Africa to form the Red Sea, but East Africa itself is forming a deep, fault-filled basin loaded with volcanoes. If the East African rift shut down, it would eventually look a lot like the Reelfoot Rift. The continent bears many scars from this rifting. There are igneous rocks throughout the area formed between 1.5 and 1.3 billion years ago. during this rifting Measurements of the gravity and magnetic fields over the rift also illustrate its presence. The modern Mississippi River even generally follows this valley today as the ancient faults still allow enough movement to make the rift zone a lowland in the continent’s center. The faults formed during this rifting event don’t appear at the surface, they have been buried by sediments deposited by the Mississippi River system over the last 100 million years. The cities in the Central United States therefore sit mostly on top of fairly loose sediments that filled in these lowlands at the center of the continent. This is the area that in the early 1800s suffered a surprising series of disasters. Three of the largest earthquakes in U.S. history occurred in the area between Missouri, Arkansas, Tennessee, and Kentucky over a period of about 3 months starting on December 16, 1811. With earthquakes that occurred before modern seismic instruments were around to measure them it can be difficult to fully tell the story, but these events are important enough that scientists have assembled many details. See how there are 3 segments to the fault? You’ve already seen the reason why there were 3 quakes. The first quake took place on the southernmost segment and ruptured in a strike-slip motion. The second quake took place on the middle segment and ruptured a normal fault. The final quake took place on the northernmost segment and again had a strike-slip motion. This structure therefore looks like a piece of the rift, a normal fault segment with two large strike-slip faults on its edge. The quakes were extremely powerful; USGS estimates place their moment magnitudes at 7.5, 7.7, and 7.7; comparable in strength to the 7.8 Mw 1906 San Francisco Earthquake. Because the crust in the Eastern U.S. is older and colder than that in the west, the shaking transmitted over a greater distance; historical records report the earthquakes caused church bells to ring as far away as Boston. The quakes were a disaster for this area even though the population was sparse. The fault motion shifted the Mississippi River’s position, creating the modern Reelfoot Lake and also drowned and submerged many other areas. Sediments shifted and blew out of the ground across the region. Any structures present were likely destroyed, although there are very few remaining records. There was enough damage that a single landholder named John Hardeman Walker was able to cheaply buy up the affected land in the years following the quake as most of the inhabitants simply left. When Missouri became a state in 1818 he lobbied for inclusion of his land in Missouri at the expense of Arkansas, leading to the inclusion of 3 counties in Missouri as a “bootheel”. The New Madrid quakes therefore literally show up on the U.S. map. Although these events are huge, they’re very much an anomaly. We teach that most major earthquakes are associated with boundaries between plates; even if the earthquake is happening far inland of the plate boundary it tends to relate to plate tectonics. The New Madrid quakes are so far from any plate boundary it’s extremely hard to say what is driving the motion on the faults. There are ideas. We do know that plates can transmit stresses long distances as they move; the New Madrid area could be feeling the impact of stresses as far away as California. The New Madrid Area could also be responding to the change in mass on top of it from melting of the huge ice sheets 12,000 years ago. Finally, there are even proposals that a small mantle “hotspot” has interacted with the Central U.S. over the past few million years and that could contribute to stress on the New Madrid Faults. These big quakes aren’t the only things this fault zone has produced. Not only do we see that earthquakes continue to this day, but scientists have also found evidence for previous earthquakes in the centuries prior to historical documentation. When these quakes happen, loose sand in the soil bursts onto the surface like a geyser, a feature called a “sand blow” or a “sand boil” (sand blows covering the land were probably a big reason why it was cheap to buy after the 1812 quakes). Older sand blows have been found indicating several large quake sequences happened on this fault before historical records were recorded, with the most recent ones happening about 1350 and 900 a.d. Furthermore, seismic techniques have been used to image the subsurface throughout the Mississippi valley and found evidence of faults across a broad area that have been active over the past few million years - not just these exact faults, but a multitude of them throughout the valley. The sequence of prehistoric earthquakes and the ongoing smaller quakes is good evidence that this fault is still an active threat. If the smaller quakes were aftershocks of the 1812 sequence, there would be fewer of them with time; instead their rate is pretty much constant, suggesting they’re caused by continued stress on the fault. Although the fault most recently ruptured about 400-500 years apart, there’s no reason why it can’t go sooner next time. In fact, during the US Geological Survey’s most recent earthquake hazard assessment, they increased their assessment of risk from this fault system due to the mapping of the prehistoric earthquakes. If this fault system ruptures again, there are vastly more people in this area than last time. St. Louis, Memphis, and Nashville are all in the area that could see heavy shaking; smaller cities like Paducah, Jackson, Evansville would feel it as well, and smaller towns even closer to the epicenter could feel even stronger shaking. Several factors would likely increase the damage to these cities even beyond what is observed in major earthquakes elsewhere. Almost all the buildings in these areas sit on sediments deposited by the Mississippi River and loose sediments are extremely weak during earthquakes. When shaken, loose sediments break apart and lose all strength, a phenomenon known as liquefaction. Any buildings built atop those sediments will be at risk of severe damage or even collapse (http://tmblr.co/Zyv2Js1WTUw1o). These areas also have very little in the way of building codes that could limit damage. Building codes are hugely important during earthquakes as unprepared buildings tend to completely collapse while limited building codes can save huge numbers of lives. Some of the states in the area do have seismic building codes, but many local areas do not. Major commercial buildings tend to do pretty well during earthquakes if the ground does not liquefy, but only 10% of the local areas have seismic building codes covering residential homes. If another earthquake were to hit these areas, residences would be absolutely devastated and the losses would rival the recent hurricanes as the worst disasters in U.S. history. If you live in these areas, earthquake preparation is smart. Have an earthquake kit, including stored water (http://tmblr.co/Zyv2Js1pz9oUR). Make sure your family knows what to do if a quake starts. Practice the “Drop, cover, and hold on” techniques during the yearly shakeout drills. If you own property, see about a seismic retrofit – a few cheap upgrades can be the difference between no damage and a house being completely lost (http://tmblr.co/Zyv2Js1puIWDj). And, if you have any influence on the political processes in the area, keep pressure on decision-makers to be ready. Cities can and should practice earthquake emergency responses and building codes in this area need to be upgraded to reflect the seismic risk. This fault system is still there and active. It might be 300+ years before another major quake series strikes, or it could be much less. If a major quake does hit, this is not an area you want to be in given current preparation levels. -JBB Image credit: http://bit.ly/1CTZavp Read more (tons of references): https://www.usgs.gov/natural-hazards/earthquake-hazards/lists-maps-and-statistics http://dnr.mo.gov/geology/geosrv/geores/techbulletin1.htm http://www.new-madrid.mo.us/index.aspx?nid=132 http://s1.sos.mo.gov/archives/history/bootheel http://www.showme.net/~fkeller/quake/maps.htm http://pubs.usgs.gov/fs/2009/3071/pdf/FS09-3071.pdf http://pubs.usgs.gov/pp/1538e/report.pdf http://www.britannica.com/event/New-Madrid-earthquakes-of-1811-1812 http://www.reelfoot.com/new_madrid_earthquake.htm http://bit.ly/1OvtNsu http://www.shakeout.org/centralus/

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thoughts-on-bangtan · 3 years

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lately i feel taehyung is a straight man and his vibez is much more masculinity i mean not to mention taehyung straightly said to jimin he like him most and no offense for me it's just assurance about something etc and i don't feel like in romantic way but much more because he is best friend for life. i mean before you can assume he is kind of gay but lately i feel like he's more focus on masculine way and much more straight man.

Admin 1: Let’s do a little exercise which I think will help us answer this question, as well as showcase why reading it annoyed me so much, especially as queer person myself. Okay, here are nine different men, all of them athletes (why did I pick them? Because idols are basically just as athletic as them and chances of you knowing all nine are low), and now please try to guess which of them (if any) are gay/queer:

…

Do you have your guesses?

…

Okay, as example, if you guessed only the one first row second from the left then, well, you are partially correct. That man is Johnny Weir, former American figure skater, who is, in fact, gay, yes. But you are wrong in saying that out of all the men in those pictures he’s the only one who is queer. Because all of them are. You can read more about them here if you’re interested.

What does this tell us? Easy. The manner in which someone presents themselves (or the vibe, whatever that’s even supposed to mean, that they give off/give you), traditionally masculine, feminine, more androgynous, or anywhere else on the spectrum, has no correlation whatsoever with their sexuality. A gay man can dress in a way that is traditionally seen as more feminine and that’s fine. He can dress and look more typically masculine, and that is fine as well. He can dress and look however he likes and that doesn’t make him any less or more gay, or any less or more valid.

The main thing I would like for you to take away from this answer is this: please do not buy into stereotypical, basically fetishizing, portrayals and assumptions of what constitutes a “gay man” visually and behavior wise. There is no checklist full of boxes a queer man, or any queer person for that matter, needs to fulfil in order to be queer and valid in their queerness. There is no unified look a gay man has to showcase in order to be gay. It’s the 21st century, the year 2021, can we leave finally lay these things to rest?

As for Tae, if you want to know my thoughts about BTS and the LGBT community, I have an entire post about it which you can read here if that’s something that interests you. If we look at how Tae currently looks like, which you’ve defined as more “masculine” (and therefore straight), I will agree that he has gained muscles, if that is what you think is a necessary checkbox for masculinity, but really, all that really tells us is that Tae is healthy, that he looks great, handsome as ever, and that he is an idol of whom it is expected and required to be in a good physical shape, especially with comeback being quite literally just three days away which means a lot of performances, dancing, and hard Bangtan choreographies.

Your taste in fashion and how you feel most comfortable with your body looking like has no direct correlation with your sexuality, and neither does it with Tae’s.

Lastly, how is Tae saying he likes Jimin most on national TV somehow proof of him being straight? What else was he supposed to say? What would he have to say for you to not question his bond with Jimin? Is there a possibility we’re wrong and they’re just platonic, of course, but at the same time, looking at how Jimin said that Tae is a honest person, how Tae basically wears his heart on his sleeve, and how he’s written a song all about falling in love with his best friend, whom we know is Jimin, and we know Tae writes songs based on his own feelings and experiences, I do have a hard time believing that we are wrong. But, of course, we won’t know for sure until Tae or Jimin, or both, tell us themselves.

You are free to believe whatever you like but at least don’t project gender and LGBT stereotypes (most of which have been created and are perpetuated by straight people) onto Tae, and the other members for that matter. Or any queer person really.

Admin 2: I admit that after what I’ve recently observed on various sns platforms, no question will surprise me anymore. In fact, I'm sure I know where this question came from.

The most annoying thing is that despite so many "steps and demonstrations" on BTS' part, there is still an army trying to put people into individual boxes and number those boxes and give them names.

Do any of us have our sexualities written out on our foreheads? Can you see if we are sexually interested in women, men, or anyone else? And how can you know that?

I think a lot of people know Adam Rippon, for example, who is a former American figure skater and Olympic team bronze medalist. Yes, Adam is gay and has a very handsome partner, fiancé actually, who looks like a young god. He's fit, look at his photos on Instagram, Jussi goes to the gym, runs and is even in the process of builds a house himself, like a "real man", a "typical" man ... but he's gay!

If you look at this example, you can clearly see that there are no stereotypes that would indisputably define the appearance of an LGBTQ+ person! Indeed, in the last century, attempts have been made to give "gay" people the weird appearance of only ever being feminized man who are always sassy and the side kick in movies/shows, the stereotypical "gay best friend". It the past century it was designed as such to portray queer people, and especially gay men, in undesirable ways, as jokes and as something "bad", but I thought we grew out of it a long time ago as modern and tolerant people.

Kim Taehyung has to practice and exercise as a member of BTS. That’s a fact. To meet the requirements of their choreographies, whether you like it or not, you must be in an Olympic physical form. Not just him, the entire team must basically be at a near peak physical condition and health. Tae has to exercise, he has to take care of himself, and he has to look great. I have to admit, I've noticed that "gay" men pay more attention to their looks than a normal, unshaven straight guy! (I'm basing this on a joke Adam Rippon once made where he apologized to his followers for looking like an "unshaved straight guy" after he'd just woken up)

What do I mean by that? I want to express the fact that the way you look and take care of your appearance and physical condition are not an indicator of sexuality!

As for the "I like you the most" statement, I'll admit that I've observed many people in many ways trying to use this statement to twist it into whatever those people wanted it to be, instead of taking it for what it actually was, especially since it appears to be something like a thorn in the sides of those who ship other ML pairings.

I'll be rather blunt here now, instead of beating around the bush.

I think this whole question is another attempt at ripping down the Vmin sails and belittling their bond and its possible implications once again.

If we remember how the scene played out, remember Jimin's reactions, his nervousness, how flustered he was, said that things are getting dangerous, and the fact that Taehyung's letter was only for Jimin's eyes. Is that really how "bros" behave? Just a couples of besties?

I doubt that normal best buddies on national TV would feel the need to write mystery letters just for a friend's eyes and tell each other that they like him the most? I'll say more, "boyfriends" don't force their lover to admit that he is copying him in his dance style, only friends do.

It is strange that this "copy" situation was "perceived" as highly romantic, and yet Taehyung's words to Jimin were relegated to "best friends only, nothing else".

However, it doesn't change the fact that Taehyung said what he said, he wrote 95z is love and Jimin confessed that he would love to spend his life with his lovely Taehyungie. Do "only best friends" (best friends that are straight) behave like this?

#answered ask

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FEATURE: Japanese Myths And How They're Depicted In Horror Anime

No matter the time or place, the folklore and myths of the past always persist. The same can also be said for anime, especially when it comes to horror. Certain franchises, such as Shigeru Mizuki’s classic GeGeGe no Kitaro, have solidified the omnipresent status of traditional Japanese folk monsters in popular culture. Other series, such as Osamu Tezuka’s Dororo interpret traditional folklore in relation to historical periods and changing attitudes toward religion. More recently, series from the 2010s and 2000s, such as Bakemonogatari and Ghost Stories, interpret the classics with modern sensibilities. When it comes to stories with a penchant for horror, it would be far more surprising if they didn’t allude to a shared supernatural mythology — the ubiquity is the point.

Neko-Musume on her smartphone

The best horror always tries to do something new. While creatures like yōkai (a wide umbrella of supernatural entities) are well-known among English-speaking fans today thanks to series like Yokai Watch, these re-imaginings always tend to play fast and loose with fidelity. Wouldn’t it be boring if every vampire movie started and ended with Dracula? In a 2016 interview with The Comics Journal, veteran manga translator Zack Davisson emphasizes this important tendency to re-contextualize old folklore:

“It’s a tricky question, as it is impossible to say what is ‘actual folklore.’ Vampires bursting into flame is considered ‘authentic,’ but that actually comes from the films, not folkloric sources. Folklore evolves and [Shigeru] Mizuki is an important part of that evolution. If you trace them back, most yokai we know come from Toriyama Sekien, who also just made things up. In fact, I would say that making up yokai is part of the grand tradition of yokai! If you are a writer/artist working with yokai and not making up at least a few of your own, you are missing the point!”

The original spirit gun

So that’s all to say — there really is no such thing as a definitive, one-to-one story based on centuries of tradition. Yōkai, as endearing as they are, are also just one part of the equation. Long-running anime such as Folktales from Japan and fantasy series Inuyasha-continuation Yashahime: Princess Half-Demon either re-tell or draw inspiration from that folklore. But that’s beyond the scope of this piece. Whether it be adaptations of urban legends about school bathrooms or vengeful spirits, I hope this round-up helps any casual or long-time anime fan appreciate how these series reimagine supernatural traditions.

Fantastic Folklore: GeGeGe no Kitaro & Mononoke

The late Shigeru Mizuki’s most influential character, Kitaro, hardly needs any introduction. In his book Yokai Attack! The Japanese Monster Survival Guide, translator Matt Alt describes yōkai as “the attempts of the fertile human imagination to impose meaning and rationality on a chaotic, unpredictable, often difficult-to-explain world.” Many yōkai are quite strange and sometimes even comedic. Scholar-artists, such as the previously mentioned Toriyama Sekien, are largely credited with inspiring their uncanny visual representations, making them the perfect subject matter for an accessible series.

The tanuki plot world domination

The titular Kitaro himself is a half-human, half-yōkai one-eyed boy who travels between the human and spirit world to resolve monster-of-the-day conflicts with his friends. Although Mizuki’s Kitaro as we know it began serialization in 1960, Mizuki originally received permission to re-imagine the character from Masami Itō, who first created Kitaro in the 1930s in pre-war Japan. The most recent 2018 anime series re-establishes Kitaro in a modern setting, yet still adapts many of the most iconic stories. Characters such as Neko-Musume, based on volatile cat spirits called bakeneko, are updated with new designs while Kitaro mostly remains the same. Mizuki’s older creations, such as the jubokko (vampire tree) yōkai, are still featured alongside a new re-imagining of the “wall monster” nurikabe — inspired by the discovery of an Edo manuscript in 2007. The appeal of Kitaro isn’t so much the meticulous adherence to yōkai mythos, but rather Mizuki’s continual improvisation of the folklore-informed monster-making tradition.

The Medicine Seller

Beyond Kitaro, other series, such as 2006’s Mononoke, dedicate entire storylines to a wider category of ayakashi (sea-bound yōkai) and funayūrei (boat spirits) written by none other than Chiaki J. Konaka. Later episodes feature bakeneko and nue (chimera monsters), but with a twist. The term mononoke itself refers to a variety of yōkai specifically referring to vengeful spirits possessing people or things. When it comes to series taking a more “fantastical” approach to folklore, both Mononoke and Kitaro thankfully never dissolve into simple rogue galleries of monsters — their (mostly) human protagonists largely remain the heart of their chilling saga.

Horror-Historical: Osamu Tezuka’s Dororo

Lord Kagemitsu Daigo makes a pact with the demons (Source: Amazon)

In Anime and Its Roots in Early Japanese Monster Art scholar Zília Papp comments Mizuki’s “Kitaro characters became synonymous with yōkai in the postwar period, continuing to the present time” compared to his peers like Tezuka. But if Kitaro made yōkai big in comedic manga, then Tezuka’s short-lived Dororo manga drove this interest toward the historical context of the Sengoku Period, or the “warring states” era of feudal Japan.

Rather than depicting spirits as purely whimsical mischief-makers, Dororo’s inciting event is a feudal lord of the fictional Daigo clan forging a pact with 48 demons, who persist to hunt his son long after the pact is forged. In his feature The History Behind Osamu Tezuka’s Dororo, Marco Oliveros comments that by depicting yōkai during this period, Dororo draws inspiration from actual shifts in changing Buddhist attitudes toward these entities:

“One of the foremost examples of this change to yokai is the tengu. Wrathful and demonic, the avian creature tricked and assaulted Buddhist clerics and civilians alike, becoming characterized as the sworn enemy of Buddhism. The apparent hostility of these yokai to Buddhism makes their dark deals with Dororo's Daigo an unsurprising turn of events for the Sengoku Jidai era.”

The Amanojaku is captured and sealed inside a Buddhist temple (Source: Amazon)

Matt Alt’s 2016 translation of Japandemonium Illustrated: The Yokai Encyclopedias of Toriyama Sekien describes the tengu (mask-wearing entities usually depicted as half-man half-bird) as “deeply associated with the religion of Shugendō,” which originated during the Heian period; however they were depicted very differently in major Buddhist sects of the same era. Unlike solely “fantastical” stories of the supernatural without much acknowledgment to historical context, Dororo is interested in this context regarding capricious attitudes of spirits of people alike. Impressive malevolent entities such as kyūbi (nine-tailed foxes) also fight against Dororo’s protagonist, Hyakkimaru, typical of supernatural jidaigeki (period drama) horror stories set in feudal Japan.

However, Dororo also features lesser entities such as amanojaku (tiny, goblin-like demons). According to the influential illustrated encyclopedia Wakan Sansai Zue compiled by Sekien-predecessor Terajima Ryōan, amanojaku and tengu were described as paired descendants of the evil goddess Amanozako (literally "tengu god"). According to scholar Haruko Wakabayashi in The Seven Tengu Scrolls: Evil and the Rhetoric of Legitimacy in Medieval Japanese Buddhism, tengu were symbolically invoked in inter-personal and religious feuds amongst Buddhist sects during the Heian period. The amanojaku depicted in Dororo is minor. But with a (simplified) understanding of its affiliation with tengu’s pre-Heian origins and its subsequent disavowal by influential Buddhist sects, Dororo's amanojaku cameo is an undeniable nod toward its theme of “old ways” impacted by a "new" institutionalized status quo.

Hyakkimaru battles the nine-tailed fox spirit in its spectral form (Source: Amazon)

While the nine-tailed fox spirit is flashy, Dororo’s amanojaku ends up pathetically sealed inside a Buddhist temple. Ironically, the amanojaku trapping scene pans from the top of a Buddhist statue, ending with the cartoonish amanojaku crushed underneath to visually imply its irrelevancy. Dororo is a story about the cultural and religious tensions brewing during this violent episode in history — making Hyakkimaru’s journey one that doesn’t simply depict supernatural folkloric tradition in stasis, but as something always under complicated socio-political stakes.

Modern Ghoul School: Ghost Stories & Bakemonogatari

What do you do if you can’t solve your evil spirit problems with a sword? For the most part, classics like Kitaro and Dororo take place in the past, or at least worlds very unlike our own. A traveling demon slayer never has to deal with student council or smartphones.

In a previous article, From Bakeneko to Bakemonogatari, I discussed all the possible lineages of the catgirl character archetype. In that piece, I claimed one of the more accurate representations of the bakeneko today was Bakemonogatari’s Tsubasa Hanekawa’s cat spirit-possessed alter-ego. It’s not simply because she is a supernatural catgirl, but rather her portrayal was obviously informed by the wider context of pre-existing bakeneko mythos. Is it possible for a “modern-day” series to tackle yesterday’s folktales while still preserving the uncanniness of the past?

The spirits possessing Bakemonogatari’s cast, referred to as “oddities,” all nearly function like vengeful mononoke spirits. For example, Bakemonogatari’s first arc, Hitagi Crab, features a crab “oddity” haunting classmate Hitagi Senjougahara. The existence of heikekani (face-shaped crabs allegedly the spirits of drowned Heike warriors from the Sengoku Period), might be a parallel, considering the arc’s theme of unresolved conflict. Another arc, Suruga Monkey, features an “oddity” taking the form of a beastly paw growing on classmate Kanbaru Suruga’s arm. Senjougahara and Suruga's crab/monkey relationship can be read as alluding to the well-known Buddhist tale “The Monkey and the Crab.” According to The National Gallery of Art on its 2019 The Life of Animals in Japanese Art exhibit, the monkey and crab are usually depicted as friends, then compete until they either make amends or resolve their conflict. Often the subject of artistic interpretation, it’s no surprise this tale found its way into anime as a metaphor for teen drama.

The kids scan a talisman and e-mail it to exorcise internet demons. Yes, this really happens.

In comparison, the 2000 series Ghost Stories is best known to English-speaking audiences for being an edgy comedy. However, its original source material, a book series titled Gakkō no Kaidan (School Ghost Stories), is more akin to a heavily researched Goose Bumps. Written by folklore scholar Toru Tsunametsu, the series showcases various urban myths and monsters, most famously “Hanako” a ghost girl who haunts school bathrooms. A 2014 NPR piece describes the most popular version of Hanako being a schoolgirl in WWII “using the bathroom when a bomb fell on top of the building.” Although Hanako gained enough popularity from the books to warrant her own spin-off anime series in 1994, she only makes a handful of cameos in the 2000 series. Entities like the previously mentioned amanojaku also appear, alongside shinigami (death gods) depicted in many other anime.

How to channel your ghost powers for success (Source: Funimation)

Hanako, because of her relatively modern backstory, is just as ubiquitous. Versions of Hanako appear in an episode of the 2018 Kitaro and most recently in the 2020 series Toilet Bound Hanako-kun. Tsunametsu currently edits the Folklore Society of Japan’s official academic journal, no doubt a testament to his priceless contributions to folklore representation in anime.

Who You Gonna Call?

There’s no way to tell the same ghost story twice. With such a layered history, contemporary anime have a nearly endless well of folkloric material to pull from. Recent series like the hit Demon Slayer: Kimetsu no Yaiba and Toilet Bound Hanako-kun prove that fans will never get enough of the supernatural, just as long as things stay fresh.

Hanako politely warns the ghost-hunting kids

Long live artistic liberty and specters trying to watch you pee.

Blake P. is a weekly columnist for Crunchyroll Features. His twitter is @_dispossessed. His bylines include Fanbyte, VRV, Unwinnable, and more. He'd like a tiny yōkai cat.

Do you love writing? Do you love anime? If you have an idea for a features story, pitch it to Crunchyroll Features!

By: Blake Planty

#Anime #News #Latest in Anime News by Crunchyroll!

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