#corona disaster

[zebracorn-chan]

Corona♀️♂️

[raayllum]

this isn't how i'm writing it in fanon s6 bc i can pace things however i want with zero time constraints but this is something i could see s6 doing + i like being self indulgent so

They'd been stupid to trust the Celestial Elves.

It was the only thought running through Callum's brain as he stared in horror, the corona sealed back glass, the Nova Blade a weapon no mortal could wield, and Rayla—

On her knees, the leader holding an ordinary but no less terrifying blade to her throat, his face still a bit scraped up from his and Rayla's earlier scuffle. She'd been the one to catch the elf reaching for Callum's bag when they slept that night; she'd be the one to draw her sword first and engage him, quickly overwhelmed by the time Callum and her parents had arrived.

They were all talented warriors, but rusty after two years in a coin—Runaan unable to draw his bow with only one arm, and something long range was needed here. Some way to kill the leader and give Rayla time, even if he held her in a vice grip, pressing down hard enough on her throat there was thin, scarlet line growing.

"You have something we need, boy," the leader hissed, breathing heavily through a broken nose. "You know what it is."

Runaan's voice broke through, sharp and demanding—"What is he talking about?"—but Callum couldn't tear his eyes away from Rayla. She was struggling to breathe, let alone speak, but gave her head the barest shake. No.

"What are you going to do with it?" Callum says as neutrally as he can, stalling (there has to be a spell or a way out of this) even if he already knows the answer.

What else could they hope to do with something called the Key of Aaravos?

"I'll tell you what we're going to do your elf girl unless you give it so us," the Celestial elf snarls. "On the count of three, I'll slit her throat. One—"

"Stop!"

Two hadn't even left his lips, Callum having an excuse to look away from Rayla's glaring, tearshot eyes now as he digs the cube out of his bag. It feels like it weighs a thousand pounds as he holds it up.

On Finnegrin's ship, at least he'd been able to hide what he was doing—what he was willing to do—in the shadowy depths of the ship. Here, in the light, there's nowhere to hide.

Callum holds it out, taking a few steps closer. "Lower the sword first," he says.

"And have her wriggle free? I don't think so."

"Callum," she wheezes. "Don't—"

"Fine then," Callum snaps. "At the same time—an exchange. On my count of three. One—" He looses his grip on the cube, the ring of celestial elves watching eagerly. "Two—" It's not ideal, him and Rayla in front of where any of her parents could join the fray; there will have to be distance before anyone can fight either way. But then, he's not doing this out of the certainty he'll get the Key back, that it won't end in disaster.

Just for her safety. Just for himself, because he can't live without her.

This was his destiny, what Aaravos was banking on. And he was right.

"Three!"

The Celestial elf takes his blade away and shoves her forward at the same time Callum tosses the cube over. It's caught in one shiny blue hand, the elf towering over him as Callum slides to his knees, catching Rayla as she careens forward before she can hit the floor. She coughs weakly in his arms, bleeding at the throat, but it seems shallow.

The celestial elves make it maybe five five away with their prize before her parents leap into action, swords clashing, but Callum grabs his staff and constructs a funnel of wind around him and Rayla, a thick enough wall of air to keep anyone else out momentarily, as he helps her sit up.

"Callum." She's crying, but alive.

"Let me look at you," he murmurs, lifting up her chin. He uses his scarf to wipe away the blood, relieved when more doesn't follow. A shallow cut just to scare him, but it'd worked. He pulls her into his arms next, just needing a moment to feel her heart beating against his.

She takes a second to hold him back and then does so, tightly, and his heart settles as they sit there shaking. She hasn't forgiven him for it yet, maybe—but she will.

[hell-is-a-teenage-girll]

HEALTH UPDATE

Well.. Guess who finally got Corona.

On top of everything this was exactly what I needed. I joke that I'm just always late for the trends 💅.

But seriously, I'm in so much agony. Before ending up at ER last night, my heart had been going 130bpm + whole day. (my watch literally congratulated me on my fitness) it went up to 161bpm. When I went to the doctor my blood pressure also was way to low. My fever was climbing close to 40°. (sorry for all my Americans on here, I'm European so I'm not converting it haha)

So they send me there.

I never felt in so much agony. I think mixed with my already existing illnesses and disabilities it's just a mixture for disaster.

I've cried from pain, and I don't do that normally. Or atleast not infront of someone, not even my partner, now I been crying with her. She's also positive btw.

I'm also already dealing with the disappointment of most likely not being eligible to be helped by the state for paying for an implant in my brain.

It would cost me 20.000 and after 5 years to replace the battery again 15.000. I don't know how to place this. As this implant was for me always my safety plan, my dream plan, and the one with the most succesrate to reduce the pain.

Now I don't know anymore how to live like this.

I also went to England recently with my gf and a friend, and I have never realised more that I'm disabled. And that things are getting worse and God. It feels terrible and the reality is hitting me HARD.

I must say they were so helpful to people with accessibility at the airports and all. I had never experienced that ❤️

[thetruejerrycan]

Tekken 4 Paul Phoenix is like if you turned the phrase "bisexual disaster" into a person. This guy reeks of sweat, Corona beer, despair, and a carnal desire for more than one gender

[lemon-natalia]

Nona the Ninth Reaction - Chapter 21

ok now that We Suffer’s certain Corona’s fully betrayed them, i’m not convinced its that simple 😂 honestly who knows what Corona’s got going on rn

and Nona’s instinct is to use a sword two-handed. i’m pretty certain that Nona is Alecto, but then this kinda throws that theory off because it feels like its some kind of muscle memory (soul memory…?) from Gideon somehow

Ianthe and Corona’s relationship is uh. Interesting. only with these two could her sister be mistaken for her boyfriend 💀

i was kind of surprised that Palamedes seems to know all about and be totally fine with opening the Locked Tomb but. i totally forgot he already found out about Harrow opening it in GtN and didn’t really give a shit then. so.

i’m probably overly concerned with the logistics here but where the hell did Ianthe get Bab’s body from. we last saw him in one of the labs at Canaan House, but i went and checked and it doesn’t seem to be mentioned in the bodies/coffins at the beginning of HtN. i’m guessing BoE either left it behind or didn’t find it, and Ianthe decided to go back and get it to avoid RB-madness and also the aesthetic? either that or Ianthe’s just had Bab’s body in storage for a year plus, which i honestly wouldn’t put past her

We Suffer you might want Gideon Nav in a bag but i want her alive and well and happy please and thank you  

also wow both Bab’s and Gid’s dead bodies are really going through the wringer. at least people care about getting Gid back, even if it is to open the Locked Tomb, but Bab’s soul got all eaten AND he’s being puppeted around by the body of his murderer. i’m going to need a reminder of why i didn’t like this guy because thats rough

'My friend had stipulations once’ Nona i love you so much, never change 

i hope wherever Gideon’s consciousness is after her little River trip, she isn’t aware of the whole ‘dead body being wheeled around to the troops’ thing, i feel like she’d kind of hate that?

Nona pretending to be Harrow to trick Ianthe sounds like a recipe for disaster. i love Nona but i really don’t think her acting skills are up to this. although her fake radio call apparently tricked BoE so who knows 

[bordysbae]

Heyy bestieee, hear me out drunk skating gone wrong with jack! Feel free to use my disaster as inspo 💀😂😂

“i caught you slippin’”

jack hughes x reader

warning: drinking

word count: 0.5k

you and jack just left his teammates christmas party, and to say the least, you’re both heavily intoxicated. you easily get wine drunk, and jack had three and a half too many bottles of corona. somehow you guys ended up at an outdoor ice skating rink, and luckily there aren’t too many people skating since it’s pretty late at night. thankfully there’s no kids, but there is about 4 other couples skating. this means that you and jack basically have free rein on the rink.

both of you, mainly you, wobble out onto the ice hand in hand. jack quickly abandons you to start skating around in circles, making you laugh hysterically. “jack you look like a ballerina!” you giggle, watching as the other couples begin to slowly get off of the ice pair by pair.

“oh look people are leaving, come spin with me!” jack says, holding out his arms for you to grab. you hesitantly grab his hands as he begins to spin you around. “jack stop! i’m getting dizzy!” you cry out, making him laugh even harder than you both already were. he lets go of your hands, and you instantly fall on your ass.

jack starts crying laughing, holding onto his stomach. “you dumbass! the ice is for skating not sitting!” he drunkenly exclaims, wiping the tears from his eyes. “help me up! this is your fault!” you groan. as he helps you up, you wipe the snow off of your pants. jack starts speed skating around the ice and catches an edge, flying onto his stomach. “ow!” you hear him yell from across the ice, and at this point it’s only you guys on the ice.

now it’s your turn to start laughing at him, and that’s exactly what you do. you fall down from laughing so hard, but you also fall due to the fact you’re heavily intoxicated and can barely stand up straight. jack skates over to you and plops down next to you, you both sitting on the ice with your legs stretched out in front of you.

“i love you a lot, y’know” jack smiles at you. “i love you too, even the stupid drunk you” you chuckle. “i’m not even drunk!” he rolls his eyes, gently smacking your arm. “oh babe, yes you are” “no, nico wouldn’t let me keep drinking. i could’ve had so much more to drink!” “yeah well, i told nico to stop you” you admit, making jack audibly gasp. “you did?! why did you ruin my fun?!” he groans, acting like a little kid. “because! you’re drunk!” “am not.” “are to.” “whatever!” he rolls his eyes again before getting up.

you laugh to yourself before attempting to stand up, but you begin to slip around as you do so. suddenly jacks hands snake around your waist and guide you onto your feet. as you turn around to face him, you notice just exactly where his eyes were looking. “were you staring at my ass, hughes?” you ask him, a smirk on your lips. his cheeks flush red, and he bites his bottom lip slightly, “maybe…” he says shyly. “ha! i caught you slippin’ jackie!” “actually you’re wrong, im pretty sure that i caught you slipping.” he says, obviously referencing the fact he was holding you up so you didn’t fall. “yeah yeah whatever” you groan, before skating away from him.

“but hey, your ass does look good though!” he yells at you as you skate away, causing you to flip him off over your shoulder.

[cherrylng]

WOTP Dom Howard Interview [INROCK - Muse (October 2022)]

Unparalleled rock trio Muse release first new album in four years, Will of the People.

"We don't want to do a best-of album or a compilation because we're going to keep making new music."

Dominic Howard/Muse INTERVIEW: AI ANAZAWA

Muse have released their new album ‘Will of the People’, their first album in almost four years since ‘Simulation Theory’ (2018). The band has always been big on the soundscale, but this time they've pushed each of the songs to their full potential, making the rock songs harder and the ballads more dramatic, creating what might be described as the ‘strongest’ album yet. The album was self-produced without an external producer due to the Corona disaster, but as you would expect from a seasoned artist, he knows his identity and what he needs to do now. Dominic, who agreed to be interviewed by Zoom, was relaxing in the sunroom of his London home with his dog.

—I saw a picture of you at a recent festival where you were playing drums in a full face mask, is that a new image for the new album ‘Will of the People’? Dominic Howard (dr.): We start the show with ‘Will of the People’ and we also appear wearing the masks that the main characters and groups that appear on the album cover and video wear. It's the opening song.

—Oh, I thought it was hot in the summer (laughs). Dominic: (laughs). I can hardly see anything when I'm wearing that. I can barely see the drums in front of me, so I think Matt [Matthew Bellamy, vo. keys g.] and Chris [Wolstenholme, b.] have an even harder time. They'll be playing while trying to keep an eye on the fretboard. Plus, it's a full face, so it's hard to breathe. And there's a burning ‘Will of the People‘ logo right behind me, so my back is burning hot. But, you know, I'll do anything for rock‘n’roll (laughs).

“I was careful to avoid abstractions, and I was also very conscious of keeping it tight.”

—This album is especially Hard Rock, isn't it? A lot of albums made during the pandemic have been released one after another, but I have the impression that many of them are introspective because of the production environment, but this album is the complete opposite of that (laughs). Dominic: Yeah, it's a heavier, harder rock sound, less introspective… We were definitely working on some of it during the lockdown, though. I think everyone tended to be more introspective back then, and people were making music that sounded a bit more light-hearted, maybe not as bombastic as ours. Anyway, that kind of thing (introspective, light music) is not really our thing, it's more outward expression, more outlandish. Yeah, we haven't done an album as heavy as this one in a really long time.

—I read that you started this album as a response to a label proposal to release a best-of album, but why are you against the idea of ​​a greatest hits album in the first place? Dominic: Realistically speaking, best-of albums aren't what they used to be, are they? Nowadays, a person's top 10 favourite songs on Spotify are their best releases, right? Labels want to do best-of records because they want to promote the band, but we've always been against it because we feel like a best-of record is kind of the end of your career, you know (laughs). We don't want to do a best-of album or compilation because we're going to keep making new music. The labels might have come up with the idea in discussions to see if there was anything they could release during the pandemic, but we've always said no, let's make new material instead.

—I see. Matt describes the album as “best of new songs” and “a montage piece packed with the best of Muse.” Was that the band's goal or perception in the making of the album? Did you actually discuss such things? Dominic: Hahaha, we talk about it all the time. The whole time we were making it. But I don't think it was ever our concept. I'm sure Matt said that because we like the album that much and we think it's like our best album. I think he wanted to say that it's like a collection of the best parts of the band's old sound. It's got the heavy side, the pop side, the acoustic ballads like ‘Ghosts (How Can I Move On)’, it's got the best of what the band has always done. Well, whenever you're making an album, you always think: ‘This is the best album ever! Every song could be cut as a single!’ (laughs). I don't want to release it, or even finish it, unless I'm proud of it as an important representation of the band as it is now. In fact, we were very conscious of only including stuff that we felt was appropriate to be on the album. We didn't want to do anything too experimental… That's a bit of a misnomer. We were careful to avoid abstraction, to keep it to the point and concise, to know where to put the songs on the album, and to keep the production tight.

—There are only ten songs on the album. Do you have any regrets about not being able to keep it tighter on previous albums? Dominic: No, not really. When it's been a year or so since we put out an album, I do think ‘I should have done that’ or something like that, but I wouldn't really call it a regret. We've done some very experimental and abstract albums in the past, because that's what the album needed, especially the first three albums. The second album (2001's Origin of Symmetry) is longer and more experimental. I'm not saying that I want to get rid of that aspect of ourselves, I'm just saying that we've become more conscious of making tighter albums. And I've always wanted to make a 10-song album. We've had instrumental songs that made it 11 songs, so this time we decided to make an album of just 10 songs with songs on it (laughs).

—The content of the song this time is all very depressing, just a little bit… (laughs). Dominic: The lyrics (laughs)?

—Yeah. It's as realistic a fiction as you can get. Are these socio-political and environmental issues always something that comes up in the band? Or is this all about Matt's political views? Dominic: Mostly the latter (laughs). I think the surreal, political fictional world is where he's most comfortable writing. I guess it's easier to write about very personal things than to express them frankly. Of course there are parts of the album that touch on personal things, but I haven't done a lot of songs that are about personal things. Matt's style is to write about the emotions of what's going on in the world and apply them to an imaginary world. Naturally, we would talk about the topic and the direction we wanted the song to go in. But the music always comes first. Then the lyrics (by Matt) can take quite a while, but whatever idea it's based on, the three of us take it and put it into music, and eventually it's something we enjoy playing. The lyrics come after that, so it can be influenced by the vibe and feel of the song's source material.

—Oh, really? Dominic: So it's not the lyrics we talk about the most, it's the music (laughs).

—I see, the three of you live in different parts of the world. How did you make that music during the pandemic, especially during the lockdown? Dominic: It was tough. Especially in 2020, there were months when we couldn't do anything. But we still did things like exchange ideas virtually. Once we were able to get together, we started working in the studio in Los Angeles. Chris doesn't live over here, but we still had him come to LA, and when that wasn't possible, we continued working remotely. In the spring of 2021, we got together in London and we were able to work on it at Abbey Road [Studios]. It was a lot of work, but we found a way to work not only on music, but also on these things (Zoom interviews), and also on business, virtually, without having to move from place to place, didn't we? I think it's actually become more convenient for a lot of people.

—Did you produce this album yourselves because of the restrictions of the Corona Disaster? Or was it a reaction to the fact that your last album, ‘Simulation Theory’, involved a lot of producers? Dominic: It was probably both. It was a pandemic, so from the beginning Matt and I were in the studio alone, trying out different ideas, and we were comfortable with that. Then Aleks (von Korff), the engineer, joined us in the studio and the three of us were in what you might call a bubble (laughs). Of course we had to take coronavirus checks every now and then and be careful while working, but we got comfortable in that situation, and it felt different to invite other people in there. It would be a lot of work to bring someone else in. And we like production work too. We've always co-produced, even when we've had a producer, and we rather like the time-consuming, detailed work.

—Please tell me how did you decide to end the album on a hopeless note with ‘We Are Fucking Fucked’ (laughs)? Dominic: It's interesting to hear other people say the title of this song (laughs). It was the only song we had at the end of the album. If we'd put ‘Fucking Fucked’ anywhere else, it would have given the piece a weird vibe. It's a sarcastic, depressing type of song, after all (laughs). So I think it was right to put it at the end. At first I was thinking of putting ‘Verona’ at the end. That song has a fantastic, relaxed, outro-like feel to it. But I still think ‘Fucking Fucked’ is the right one.

—Which is your favourite song of the day? Dominic: It's hard to pick just one song, I feel bad for the others (laughs).

—Let's limit it to this morning's then (laughs). Dominic: Well, we've been playing ‘Kill or Be Killed’ live recently and it's a lot of fun to play live. Maybe there's a heaviness to it that we haven't ventured into before? It's pretty metal. And I really like ‘Won't Stand Down’. When we were working on the album, I was telling Matt that every song had to make the listener feel something, and we had to make the songs make us feel something, and he asked me what I meant, and I said that sometimes when we listen to our past albums… I actually listened to all our previous albums before we started making this album. Some of them were okay, some of them were a little bit terrible, but they still conveyed what we were feeling at the time. So I had a strong feeling that every song on this album had to make me feel something. ‘Kill or Be Killed‘, when you get into the chorus, it makes you feel it. I like everything else on the record apart from those two songs. And ‘Liberation’ is a lot of fun to play. We haven't done a piano song like that for a while. Is it reminiscent of ‘United States of Eurasia’ (2009's “The Resistance”)?

“What I really want to do is to go around to different sized venues here and there and stay in Japan for two or three weeks.”

—I also like ’You Make Me Feel Like It's Halloween’. And it touches on the serious issue of domestic violence. Dominic: Yes, it does. It's a very fun song, but the lyrics actually touch on emotional abuse in the home. It's the same with ‘Won't Stand Down’. We know people who have been through that, and it's a very real issue that sometimes people don't realise they're going through it. It's such a serious thing with a very pop sound.

—Will you be touring the world after a few shows in the UK in October? Dominic: Yeah, we'll play some smaller theatres in the UK in October and then maybe next year we'll tour overseas, including Japan. We really want to go to Japan. What I'd really like to do is spend two or three weeks in Japan, doing a few more shows here and there at different venues of different sizes. The last few times I've been here, I've been limited to a few cities due to time, schedule and production. Sometimes you have to sacrifice the creative side and the fun side of it.

—You have the authority to do what you really want to do, so by all means make it happen. Dominic: Well, yeah (laughs). Anyway, we'll find a time when it's possible and we'll try to fit it into the schedule.

—By the way, there is a sign of a dog from earlier. Dominic: This is Olive, a Boston terrier (he says, showing me the dog stretched out and relaxed in front of him). He's very clever. Where's Floyd? Maybe he's upstairs. They're both very clever.

—Who's going to look after them while you're away from home? Dominic: Actually, I tend to take them with me. Olive is just over a year old and I only got her last year, so she's not ready yet, but Floyd has been all over the place, he's been on a tour of America with me, he's been in Europe. He loves it. He's always happy to play with all kinds of people backstage. Olive likes people too. When the show is over, she jumps in the car and goes to the hotel with me, and every night when she gets into her new hotel room, she jumps up on the bed with great joy (laughs). So I take her with me when I can, otherwise I ask family or friends.

Recorded on 20th July, 2022 in London.

Translator’s Notes: If you’ve noticed it, then you might’ve wondered why the Japanese journalist and the article itself doesn’t use the words “Covid-19” and “pandemic” (other than Dom himself). As I’m not a Japanese native, I don’t fully know the answer either, but I did pay attention to Japanese news over the years to pick up on information. In Japan, the government and the people do know and use the word COVID-19, but unfortunately the name that COVID-19 took in Japan was this: 新型コロナウイルス感染症 / Shingata Coronavirus Kansenshou / new coronavirus infection.

As you can see, that is a whole mouthful that no one has the time to say all of that out loud -even including the word Covid-19 itself- so they shortened it to just using ‘コロナウイルス / Coronavirus’ and ‘コロナ / Corona’ instead.

So I got used to seeing that whenever an artist or celebrity in Japan was confirmed infected by Covid and had to cancel events, they just announce on their blogs and on X [formerly known as Twitter] that they got Corona. And some of these words became familiar to me as well.

コロナ禍 / Korona-ka = Corona Disaster / Covid-19 Pandemic コロナ緊急事態 / Korona kinkyuu jitai = Corona Emergency / Lockdown

BTW, I wasn't sure what Dom's other dog's name was. I know of Floyd, but I can't remember the second dog's name. Was it Olive or Oliver?

[dabblingreturns]

I think the reason why we in the locked tomb fandom are so passionate about judith is because we fear she is us....or atleast I fear it.

Maybe it's just me.....

This is a fandom of nuroatypical queer woman.....

And the books are full of nuroatypical queer woman...

TLT give us Harrow, Camilla, Mercymorn and Judith and all are disasters.

But Harrowhark, Camilla, and Mercymorn fail and also succeed on cosmic scales.....they fail in ways we have never seen before and preserver in ways that we could only hope to emulate. Their loves, their losses, and thier fucking competence shines thought every action....

Then we have judith....who is the closest we have to an queer nuroatypical everywoman, she's not stupid, but she is so out of her depth.

Her previous romantic interactions seem to consist of getting rejected by her work partner. Which is so basic. And her strange unacknowledged crush on corona....the most basic of the crush option available.

And she constantly sticks her foot in her mouth.....and she tries and she fails and she always has the worst luck.... or picks the worst of all logical options....and she gets an idea in her head and can't let it go, even if it's wrong...

Judith isnt bad, but there is always someone better.....and if I were dropped into to cannan house.....I feel like that would be me.....I would be the one lagging behind watching my peers running ahead.....

And I fear it, and I hate it, but I cant hate judith anymore....because the things I dislike about judith are things I also dislike about myself....

So I live in hope that Judith will make one right choice in Alecto.....that Judith will get one moment of triumph, because when the chips are down, I hope for the same thing for myself.

[alwayshappyhoursomewhere]

[Translation] SPUR September 2023

Exclusive Interview with Stéphane Lambiel "About Love"

Stéphane Lambiel invites us into his beautiful musical world with his smooth skating and graceful ballet-like movements on the ice. He talks about his love and passion for skating, and everything in his life.

Looking back on his remarkable season as a coach.

Stéphane Lambiel came to Japan to perform in "Fantasy on Ice," the most prominent ice show in Japan. In the 2022-23 figure skating season, Japan's Shoma Uno, whom he coaches, won his second consecutive World Championships, and Koshiro Shimada won a silver medal at the All-Japan Championships. Latvia's Deniss Vasiljevs has also distinguished himself in the Grand Prix Series, so it has been smooth sailing for the coach.

"Shoma, Koshiro, and Deniss are not the only young talents sprouting up one after another. I want all the students at Champery (Switzerland) to grow. I hope my teaching will have a positive impact on their careers and lives. That's my number one goal right now."

After the Corona disaster, the international sports scene is slowly returning to its original state. This year, Stéphane organized a joint training camp in Kyoto with students from the Kinoshita Academy in Japan and Champéry.

"This is a good opportunity for the students to experience a different method from the one they are used to," said Stéphane. This time, we also made time for them to learn physical performance that is different from skating, such as yoga and dance lessons, not only on the ice. By learning new ways to use their bodies, they can feed back to their skating and improve their artistry. They were able to motivate each other, so I felt it was beneficial to share practice.

Today, Kinoshita is home to an elite group of figure skaters who are the future of figure skating.

"I was amazed by all the students. They are able to practice very meticulously while also maintaining their focus. If I had to name a few players that I personally pay attention to, I would say junior players Mao Shimada and Shunsuke Nakamura. I feel something special about them. Hana Yoshida knows her body well and has the ability to use it well."

About the challenges to tackle for the new season

During the training camp, Stéphane also choreographed new programs. He also said it was an opportunity to see the response from Uno, Shimada, and Vasilijevs.

"As for Koshiro, he will continue with his SP "Sing Sing Sing". For FS, he will perform a piano version of "Danse Macabre," choreographed by me. Denis performed his new SP "Hallelujah" for "Fantasy on Ice". This was his first time working with choreographer Shae-Lynn Bourne. It was a very innovative piece, and it took him some time to understand what she was trying to achieve. Then he practiced a lot, and made it his own. I will be choreographing the FS, which will be different from the atmosphere of the past. Please look forward to it.

Shoma has two programs for SP, and I think he is considering which one to use for the competition.One is by Shae-Lynn, and the other one is my creation. I think he will decide after skating both of them at the summer ice show. The SP I made will have a pretty challenging content. It will be divided into several parts, with a short intro to present the outline of the story, followed by a romantic and lyrical part, and then a dynamic change at the end. The unfolding is quite extreme, and I think it will be a very intense performance. I'm looking forward to seeing it at the show, too. For FS, I have proposed some songs, and the choreography will be done by Kenji Miyamoto."

This will be his third (sic) season as Uno's coach. Stéphane says he will do his best to support Uno, who has expressed his desire to improve his expressive side.

There are two wonderful things about Shoma," said Stéphane. One is the rich expressive power of his eyes and of his body movements as a whole. The other is his passion to control everything by himself. When he learns something new, his willingness to practice and make it absolutely his own is second to none. These two virtues have already made him a unique, one-of-a-kind skater. If he is looking for something more on top of that... from me, I think I can help him in terms of musicality. Of course he has musical sense, but I think he can deepen it even more. by refining his sensibility, he will be able to add more "umami", as they say in Japanese, to his performance, a taste that only he can bring out. I believe that the audience too will be able to sense something special from his performance.

Putting his love for his soulmate into his dance on the ice

Thirteen years after retiring from professional skating, Stéphane is now in his mature stage as a professional figure skater. The two performances at this year's Ice Show were truly musical works that moved the audience emotionally.

The first piece performed at Fantasy on Ice was the fourth movement of Gustav Mahler's Symphony No. 5, Adagietto. My friend Beatrice Belieu(?), a musician, played the piano and made the arrangement. The second is "Simple song" from the soundtrack of the movie "Grand Finale" (2015). Adagietto was choreographed by Salome Brunner. In fact, the performance presented here is only a part of the whole. Champéry has a festival called "Rencontres Musicales de Champéry" (Encounters with Music), and next year I will be skating Adagietto with Beatrice, who will play live.

The adagietto by Maher, known in the 70's for the film "Death in Venice" and more recently as the key piece in the film "TAR" (2022), is a classic. The sweet and dramatic tune is linked with a personal story.

Mahler's Adagietto was written with love as its theme. Through this song, I wanted to express the various stages of love that I have experienced. It begins with the meeting of two people, the period of burning love that brings them together as one, and then the period when there are discrepancies in the relationship. After overcoming these difficulties, they feel comfortable with each other, and then they rediscover each other as if they had met anew, even though they are the same person. The first meeting and the last meeting have different meanings, and their love evolves. When I skate to this song, I envision in my mind's eye a very rich relationship with the person I am now living with, my soulmate. There is actually a subtle twist to this performance. I thought of it with Salome, it has the same movement at the beginning and the end, but in reverse. With that movement, I expressed the evolution of the relationship and the sense of distance that is created.

He devised the choreography for 'Simple song' with his colleagues at Champéry. It is an insert song for the movie, sung wistfully by Korean opera singer Sumi Jo.

I had heard this song by chance before I saw the movie, and I thought it was a great song. I rediscovered it after watching the film, and then chose it. The personal theme of this film is growing older. Considering my own career, I am slowly approaching the limits of my physical capabilities, and I don't think I will be able to skate for much longer in the future. Still, there is a part of me that wants to skate forever. So when I am skating to this song, I express myself to the fullest as my performance, and I hope that it will be forever. *Adagietto and Simple Song both incorporate movements that require quite a bit of physical endurance, since I have to stand on one point of the edge of my skates and hold it for a long time. The goal is to achieve a noble movement despite being forced to exert that kind of control. Although I feel pleasure in being able to be in control, there are also times when I feel fragility and danger in front of the audience. It's a very lovely moment."

At this year's Fantasy on Ice, fellow skater Johnny Weir retired.

We get together every year in early summer for the show, and the performers are like family. I've talked about that with Johnny, too. It's sad to retire from the ice show, but I think it's also a positive thing. I can't speak for him, but I think he would like to do another project in his life. We have promised that we will spend time together again somewhere. Maybe a private vacation! Sometimes I think about my last show myself. I haven't made up my mind yet.

Despite being involved in a variety of activities, you are still passionate about skating. What is the source of your motivation?

I think it has something to do with the fact that I have matured, and when I aim for my best performance, I want to express myself in the most natural way. My personality is lyrical and romantic, so I often get inspiration from watching that kind of movies or from stage music. Music shakes up emotions from a deep place inside of me, and pushes to the surface the life force within. I can skate by borrowing the energy of the song. As I feel that, I guess that maybe I can perform better, with a sense of unity."

[theriverbeyond]

top five Ianthe Disaster Outfits

i can't talk about Ianthe's outfits and NOT talk about her transmasc era aka when she wore Naberius, but that is not included officially on the list because it was not a disaster it was camp.

the valancy outfit she is wearing during the mithraeum soup instructions scene. go girl give us nothing

when she is wearing like a white slip and also covered in blood right after killing babs

when she is wearing that beautiful flowing nightgown matching w Corona that made Corona look like a beautiful princess laid to rest and made Ianthe look like she had emerged 30 years after the burial

the outfit she whips up for herself for the Dios Apate Minor dinner party

when she wore clothing under her lyctoral robes that neither Harrow nor Gideon thought warrented any description

[falseandrealultravival]

Today's Haiku with picture129

broken umbrella

foolishly polite

They display

折れた傘

馬鹿丁寧に

陳列し

Decline of the entertainment district: 2. They were hit by the corona disaster.

(2022.09.24)

[solarpunkwitchcraft]

"When Hurricane Ida hit New York City on September 16, it dumped more than three inches of rain an hour. Sewers overflowed, streets turned into rivers, and thousands of homes and basements across the city’s five boroughs flooded. Assemblymember Jessica González-Rojas saw the devastation firsthand when she toured her constituent neighborhoods of Corona, East Elmhurst, Jackson Heights, and Woodside in Queens. Family after family, mostly low-income immigrants, told her they’d lost almost all of their possessions in the storm. But as González-Rojas encouraged residents to seek help from the Federal Emergency Management Agency, or FEMA, she learned that those who were undocumented were ineligible for aid."

[dailyanarchistposts]

Solutions?

In a video interview with Critical Theory in Berlin[8] he proposes to set up a planned economy to reduce emissions yearly and instate sanctions forcing corporations to pursue technocratic solutions (e.g. drawing down Co2 from the atmosphere) in a bid to recuperate the power of the state for planetary salvation.

In a co-authored editorial Seize the Means of Carbon Removal: The Political Economy of Direct Air Capture,[9] he plays through different scenarios of carbon removal from the air and demands that the “the left” confront it. Natural carbon sinks cannot possibly do all the work, so what remains apparent is the inherent need for new technological advancements and centralized planning to make capture solutions viable.

Malm, however, believes if the “means of removal” were socialised, capital accumulation could be off the table and the process would help repair climate damage, never mind the ecological and energetic costs of those technologies.

To be clear, large-scale carbon capture and storage technology is merely a hype, not a viable technology at our disposal. It remains unproven at scale, with current test facilities shutting down due to repeated mechanical failures[10] and exorbitant operating costs.[11]

It requires vast industrial complexes and a further scarring of the environment, all the while releasing more Co2 to the atmosphere than sequestered (as seen in Norway’s Sleipner Facility,[12] currently the best facility on Earth).

From geoengineering [R.F. – see Return Fire vol.3 pg8] utopia, Malm continues during his interview, and I am paraphrasing: If we can lock up people inside their houses for a period of time, surely we can say you can’t eat beef from Brazil any longer. Even if a State is able to stop industrial beef production in the tropics for all groups and people, is this really the way to create lasting social change? Swedish authoritarianism, and the state naiveté fabricated by social democracy, shines through his political theory.

Malm’s authoritarian desires continue in Corona, Climate, Chronic Emergency. Here he plays with ideas such as “mandatory global veganism”[13] and invokes the “duty” of the “richest countries” to “lead and assist a global turn to plant-based protein” to oppose the consumption of “bushmeat”[14] in other parts of the world. “Bushmeat” here, refers to how Indigenous people, farmers and low-income households hunt and subsist on local animals (e.g. rabbits, snakes, iguanas, deer, gazelle, etc.), as they have for centuries. Malm exhibits colonial hubris, meanwhile demonstrating an uncritical belief in industrial food systems and the relationships they engender.

The careless, and ultimately Eurocentric and racist, assertions by Malm are even more dumbfounding considering his credentials as a human geographer, situated at one of among Sweden’s most prestigious universities. Human geography research is famous for revealing the ecological harms of colonial land management schemes and, later, “fortress” and “community” conservation programs.[15] These programs have been largely ineffective, failing to curtail “commercial poaching” and intensifying attacks on Indigenous people, militarizing forests and regimenting ecologically destructive practices.[16] Enforcing authoritarian relationships over land, especially against so-called “subsistence poachers” – or acquiring “bushmeat” in Malm’s words – has been a resolute disaster extending colonial practices of land control, degradation and warfare into nature.[17]

This insanity extends to silence regarding the Indigenous people under constant attack by mines and wind turbines in Sweden. As Kuhn points out, Malm “does not mention the Sámi with a single word”, although they see themselves as “radical environmentalists by the very nature of their traditional livelihood”. Kuhn explains this might be because “all Swedish leftists do” this, or because it is “easier to point to struggles far away”, or even that he has “political reasons” for ignoring them (e.g. them not talking about “fossil capital”?). At the same time, he goes into great length telling of his own involvement in an action group horribly named “Indians of the Concrete Jungle”. In essence, he likes Indigenous peoples when they resist in attention-grabbing news headlines, but demonstrates radical disinterest, if not contempt, for their lifeways, culture and autonomy with his political philosophy and proposals.

[tangledbea]

Would Corona be considered a rich kingdom? Do you think it's more profitable than the rest of the other kingdoms we saw in the series even though we weren't told much about them?

Yes. It comes across as very prosperous, as it can afford to throw multiple massive festivals every year. I don't think Arianna and Frederic would have been described in the movie as beloved if their kingdom couldn't take care of its people (series retcons notwithstanding).

I also think that each of the Seven Kingdoms help each other out, that that's part of what the alliance is for. They have trade agreements as well as aide agreements in case of disaster. Equis also doesn't look particularly desolate (though Trevor seems more the type to spend extravagantly on himself (or his seals) rather than his people).

But since the series did nothing to let us know about trade, tariffs, imports, exports, etc, I don't really have much to go on. These are just the impressions that I get.

[mirageofadesert]

"That's just how it is sometimes", said my doctor

When my mother spoke about her pregnancy, she always described it as a wonderful experience. In reality, it was far from magical. She hid her pregnancy from those around her, moved to a new city without any financial support to complete her studies. She avoided pregnancy preparation courses because she didn’t want to be influenced by the fears and worries of others. She had faith in God, or so she says. After nine months, I was born in a farmhouse that had been converted into a shared apartment for students, in the room of my future stepfather, above the pigsty.

My reality is different. No God, no faith that everything will just be okay. Instead, constant nausea, stomach pains, and worries. I knew that pregnancy wasn't as easy as everyone tried to make me believe, and thanks to the internet, I vaguely knew about the absurd consequences that pregnancy can have on the female body. And yet, I am happy – even though I don’t feel well.

But for the first time in my life, that’s not a big deal. Even though every day is a struggle, and I have to use almost all my energy to plan my meals and get through the day with as little pain as possible, it’s bearable. Because I know that my child is growing inside me. And because I know that this condition is not permanent.

But there’s something else. A certain sense of satisfaction and the knowledge that I was right. For many years, I regularly went to doctors (male) and described my complaints in my stomach and digestive tract. They conducted examinations but ultimately found nothing. The diagnosis always varied from "that's just how it is sometimes" to "stress." Stress as the main explanation increased after I developed anxiety disorders during the Corona pandemic. Suddenly, all my agonizing symptoms were simply caused by my mental health. As if it were all in my head.

And yet… why did my symptoms subside when I stop taking the pill? Why was my skin a disaster and my hair thinning if this can't be hormonally related, even though it only happens after stopping the pill? Again, it’s all stress, and sometimes it’s just how it is, the doctors (male) said. For many women, these issues disappear during pregnancy, said my dermatologist, though sometimes they get worse.

For me, it has gotten worse. Everything has gotten worse. Hair, skin, digestion. Because it’s about hormones. BECAUSE IT WAS ALWAYS ABOUT HORMONES. For years, they tried to convince me that I couldn’t read my own body. That my body observations were even pathological. And now suddenly the connections between female hormones and my complaints are known?!

And yet… I was right. Being a female-read person in the healthcare system is such a wonderful experience.

[the-banana-0verlord]

The edgy moon opal

Name: Marcus Corona

Twisted from: Cassandra from Tangled the Series

Dorm: Diasomnia

Age: 17 (second year)

Birthday: 29th of May (Gemini)

Homeland: Sunlit Kingdom

Signature Spell: Moon's Claw

When cast, he can summon black, sharp and unbreakable rocks, the amount and size proportional to his magic level. It produces blot quickly. His hair turns a glowing electric blue when used.

Incantation:

"Crescent high above

Evolving as you go

Raise what lies beneath

And let the darkness grow

Bend it to my will

Consume the sunlight's glow

Rise into the sky

And let the darkness grow

Let the darkness grow."

Appearance: 175 cm tall, dark curly brown hair in a short bob, hazel green sharp eyes, very pale slightly olive skin. He has a signature arrogant and smug smirk.

Personnality: Determined, jamil kinnie although he doesn't hide his hate. He's a show off and a bit of a bully but he's himself a boyfailure (affectionate/deragotary) so it basically have no effect. He claims he hates goody-two-shoes while having straight A s and being a teacher's pet. He's very snarky and sarcastic.

Uncategorized Trivia:

🌙 He is Andric Gothel'S nephew, Audrey and Friedrich Corona's son and Raphael Corona's twin brother.

🌙Is in the spelldrive club and his dream job is being a professional player.

🌙Looks up to Leona a lot. He underestimated Ruggie at first but now he respects him. He someday wishes to surpass Leona's skill.

🌙Thinks his parents like his brother better because he was always calmer and sweeter(compared to Marcus's rebellious and snarky personnality) Although it's very not true. They love both brothers the same amount.

🌙His favorite food is sliced apples.

🌙Trans man(he/him pronouns) and disaster bisexual

Feel free to ask questions about him!