#fascinating bit of philosophy

[amethysttribble]

It occurs to me that I feel like I’ve spent a fair amount of time thinking about Elros’s motivations for why he chose Men but little and less on why Elrond chose Elves. Which is an oversight. 

But what metaphysical, philosophical reasons might one have to choose the fate of the Elves? The immortality and god paradise are enticing, sure, but that feels like its far to shallow for Elrond, especially considering he didn’t go to the god paradise until literally the curtain call. I also hesitate to say it was to have the time to help others over many years- which is what he ends up doing- because that’s so dismissive of the Elvish Condition

There has to be something worthwhile, philosophically speaking, to taking on Elvish metaphysical suffering and Elvish metaphysical joy.

I just don’t know what it is and I’ve never bothered to wonder and still’ve got few thoughts on the subject.

Which I think is funny, and far more telling about the Human Condition, because even in fantasy books, we bend over backwards to try and explain why one might want to be Human and never even question why one wouldn’t want to be one.

[ratatatastic]

do you know how refreshing it is to have a person in hockey to have favourable opinions about russian hockey players and isnt fucking plagued with xenophobia

[bibleofficial]

obsessed w gen alpha

[windcarvedlyre]

People generally call dr2's third murder weak relative to the others and I generally agree- all 3 characters that died in it were a bit shafted, they could've given Tsumiki a non-despair reason to snap on Saionji, etc- but imo it was still great in the bigger picture of dr2's plot, ominously hinting at the final twist. It's been like a decade so I can't remember how I felt experiencing it blind, but Tsumiki becoming like that just from remembering a still-unknown past is unnerving as hell.

It's doing it a disservice to lump it in with other chapter 3s in terms of writing imo. It's more memorable to me than dr2 ch4; I feel like Tanaka and Nidai's mutually-agreed sacrifice should be really compelling but the writing didn't quite nail it emotionally for me? I mostly find that trial memorable for Komaeda's behaviour.

Thoughts?

[longagoitwastuesday]

I love the Goncharov meme conceptually. It feels like classic academia perhaps, definitely like studying ancient philosophy at times. You get a fragment (knockoff boots), a general context (Martin Scorsese films existing), and then a very long discussion about nothing starts. But the nothingness isn't entirely nothing, and there are still limits to what can and cannot be said framed by both the existence and non-existence of that which is being discussed. Hilarious, truly, and the fact itself so very interesting to analyse in so many ways.

[tiredassmage]

*inhales*

iT’S FREE REAL ESTATE.gif @eorzeashan​ I’ll bite because I would also really like to rotate this idea in my head, ponder them in an orb, etc. Also - I have no idea if any of this makes sense, but they sure are some thoughts. Hopefully even half of it checks out, lol.

Like, honestly, I’m a little obsessed with rotating the psuedo Alliance alert situation in my head, it’s delicious. And I think it’ll also found my opening statements. I might just end up walking us through Tyr’s thought process in response, tbh. It’d be important to him to resolve in some fashion or another before they get to figuring out what they want with each other in the long-term.

So, firstly, Tyr is hellaciously ride or die when it comes to fellow Intelligence operatives. Agree or disagree on how the fall of Intelligence should or shouldn’t have been handled, how the Empire runs, whatever the debate of the day might be, but they were the only family that ever mattered to him. Intelligence backed him, they looked out for him, they sought his success.

Tyr never has a reason to balk at abandoning his name to be Cipher Nine because what, structurally, was his family in his youth wasn’t much more than that - a structure. It wasn’t a home. It was a place.

And for all I’ve pondered about Tyr being more loyal to ideals than individuals, it’s maybe a weird mix of both. Tyr burns his ideals for people, yet he’d still go behind someone he loves for a long game of protecting them - these are all things that make it difficult for him to deeply bond with someone that wasn’t either present for what he went through and who somehow remained largely non-judgemental (we’re looking at you, Vector, the greatest MVP the agent ever has), or someone who just... gets how it is to be an agent.

I’d be fascinated to be a fly on the wall when these two would talk about ideals though, when the subject of Jadus inevitably comes up because it’s an almost inseparable notion.

Sure, dealing with Sith is something that still manages to set Tyr’s nerves on edge in a general sense given everything, but Jadus in particular can almost shut him down. It’s one of the first things that flashes through his mind when Jadus talks about fear - operatives do not thrive on fear. It can’t be what controls them or it doesn’t matter how good you were in simulations or training, it’ll all leave you to your own. And I think it eventually loops into how he balks at the idea of losing control.

Unfortunately, he kind of trips into a self-fulfilling prophecy when that’s his gut reaction to Jadus’s philosophy. Eight doesn’t. Perhaps ironically, Tyr would call it his conviction that he’d admire (he’d mean every word). It’d be such an interesting conversation for someone to be able to walk Tyr through the view that knowing fear is perhaps the first step, but to overcome it is, in a way, to know it - and, no, while he still wouldn’t like the idea of dealing with Jadus, that re-frames it tactically, strategically. It should have been his next instinct to kick in that generally does in the field - sure, feel things, but feeling and doing are two completely separate matters. One isn’t going to resolve without the other. Jadus isn’t... exactly normal though, lol.

In that way, how could he not respect Eight for doing something he failed to do? (There’s that idea of conviction again) And, also... the inevitable guilt of not being able to finish the job himself. Tyr hates leaving people behind. He doesn’t just give up on people he cares for or respects in some way. Come hell or high water, he’ll figure something out - even if it’s supernova self-destructive to pursue.

Kinda... short way around all of this, does Tyr trust Eight to catch him when he trips? Unquestioningly. Does he let Eight lead him into that cave despite the way his throat constricts at the very thought of facing Jadus again? Yes. He doesn’t have to trust Jadus. He does trust Eight. (Tyr and his... odd capacity to trust fellow agents despite their largely untrustworthy profession)

Is Eight pretty? Yes. : P

There’s a part of this that will likely feel like the same grief and regret the Minister has about what Eight had to become in all of this, but Tyr doesn’t have to leave things lie and he’s certainly no quitter. Whatever else he is or isn’t, the need to try to understand won’t let him leave it lie. Because he’d never be comfortable living with himself if he walked away. It was his job to start, he has to be there for however this ends.

But he’d also need to figure out if he’s robbing Eight of something if they pursue Jadus. Because if he is, can he really live with that? Tyr lost everything when they shut down Intelligence. Hell, it’s part of why he’d be so damn driven to find Eight, find someone else that made it out of all of this to whatever other side ended up awaiting them. The apprehension might be worth living with if he’s got at least one person that can understand what the hell it all was to go through.

And stars knows Tyr needs someone who can keep up with the way he can’t figure out himself. Hold on I wrote a line in a recent wip that I feel like I could also fit to whatever they’d have going on:

In the dark, it’s easier to hide and easier to tell the truth.

Something something not needing to be that honest in the shadows because it might hide your tells, something something that lack of pressure and established intimacy makes it easier to share nonetheless. There is an undeniable draw to someone who understands that experience that, ironically or not, makes Tyr far more comfortable with trusting his soul to those individuals.

Anyway, I have no idea if they’d do something good or make each other worse, but it’d be pretty neat of them either way, I think. xD Honestly, once they come to some sort of consensus about Jadus, Tyr won’t think twice about trusting him and I think they could have a lot of fun being obnoxious chameleons rising to whatever challenge meets them. Just expect Tyr to keep checking in occasionally. He can’t exactly figure out what he wants beyond all of this spy business stuff, so it’s important to him to keep a pulse on what a partner wants. In a way, that similarity in them might lead to a lot of “I don’t know’s” about it, but, hey... That’d be okay, too.

[mollyrealized]

How Michael Met Neil

original direct link [MP3]

(Neil, if you see this, please feel free to grab the transcript and store on your site; I had no easy way of contacting you.)

DAVID TENNANT: Tell me about @neil-gaiman then, because he's in that category [previously: “such a profound effect on my life”] as well.

MICHAEL SHEEN: So this is what has brought us together.

DAVID: Yes.

MICHAEL: To the new love story for the 21st century.

DAVID: Exactly.

MICHAEL: So when I went to drama school, there was a guy called Gary Turner in my year. And within the first few weeks, we were doing something, having a drink or whatever. And he said to me, “Do you read comic books?”

And I said, “No.”  I mean, this is … what … '88?  '88, '89.  So it was … now I know that it was a period of time that was a big change, transformation going through comic books.  Rather than it being thought of as just superheroes and Batman and Superman, there was this whole new era of a generation of writers like Grant Morrison.

DAVID: The kids who'd grown up reading comic books were now making comic books

MICHAEL: Yeah, yeah, and starting to address different kinds of subjects through the comic book medium. So it wasn't about just superheroes, it was all kinds of stuff going on – really fascinating stuff. And I was totally unaware of this.

And so this guy Gary said to me, "Do you read them?" And I said, "No."  And he went, "Right, okay, here's The Watchman [sic] by Alan Moore. Here's Swamp Thing. Here's Hellblazer. And here's Sandman.”

And Sandman was Neil Gaiman's big series that put his name on the map. And I read all those, and, just – I was blown away by all of them, but particularly the Sandman stories, because he was drawing on mythology, which was something I was really interested in, and fairy tales, folklore, and philosophy, and Shakespeare, and all kinds of stuff were being mixed up in this story.  And I absolutely loved it.

So I became a big fan of Neil's, and started reading everything by him. And then fairly shortly after that, within six months to a year, Good Omens the book came out, which Neil wrote with Terry Pratchett. And so I got the book – because I was obviously a big fan of Neil's by this point – read it, loved it, then started reading Terry Pratchett’s stuff as well, because I didn't know his stuff before then – and then spent years and years and years just being a huge fan of both of them.

And then eventually when – I'd done films like the Underworld films and doing Twilight films. And I think it was one of the Twilight films, there was a lot of very snooty interviews that happened where people who considered themselves well above talking about things like Twilight were having to interview me … and, weirdly, coming at it from the attitude of 'clearly this is below you as well' … weirdly thinking I'm gonna go, 'Yeah, fucking Twilight.”

And I just used to go, "You know what? Some of the greatest writing of the last 50-100 years has happened in science fiction or fantasy."  Philip K Dick is one of my favorite writers of all time. In fact, the production of Hamlet I did was mainly influenced by Philip K Dick.  Ursula K. Le Guin and Asimov, and all these amazing people. And I talked about Neil as well. And so I went off on a bit of a rant in this interview.

Anyway, the interview came out about six months later, maybe.  Knock on the door, open the door, delivery of a big box. That’s interesting. Open the box, there's a card at the top of the box. I open the card.

It says, From one fan to another, Neil Gaiman.  And inside the box are first editions of Neil's stuff, and all kinds of interesting things by Neil. And he just sent this stuff.

DAVID: You'd never met him?

MICHAEL: Never met him. He'd read the interview, or someone had let him know about this interview where I'd sung his praises and stood up for him and the people who work within that sort of genre as being like …

And he just got in touch. We met up for the first time when he came to – I was in Los Angeles at the time, and he came to LA.  And he said, "I'll take you for a meal."

I said, “All right.”

He said, "Do you want to go somewhere posh, or somewhere interesting?”

I said, "Let's go somewhere interesting."

He said, "Right, I'm going to take you to this restaurant called The Hump." And it's at Santa Monica Airport. And it's a sushi restaurant.

I was like, “Right, okay.” So I had a Mini at the time. And we get in my Mini and we drive off to Santa Monica Airport. And this restaurant was right on the tarmac, like, you could sit in the restaurant (there's nobody else there when we got there, we got there quite early) and you're watching the planes landing on Santa Monica Airport. It's extraordinary. 

And the chef comes out and Neil says, "Just bring us whatever you want. Chef's choice."

So, I'd never really eaten sushi before. So we sit there; we had this incredible meal where they keep bringing these dishes out and they say, “This is [blah, blah, blah]. Just use a little bit of soy sauce or whatever.”  You know, “This is eel.  This is [blah].”

And then there was this one dish where they brought out and they didn't say what it was. It was like “mystery dish”, we had it ... delicious. Anyway, a few more people started coming into the restaurant as time went on.

And we're sort of getting near the end, and I said, "Neil, I can't eat anymore. I'm gonna have to stop now. This is great, but I can't eat–"

"Right, okay. We'll ask for the bill in a minute."

And then the door opens and some very official people come in. And it was the Feds. And the Feds came in, and we knew they were because they had jackets on that said they were part of the Federal Bureau of Whatever. And about six of them come in. Two of them go … one goes behind the counter, two go into the kitchen, one goes to the back. They've all got like guns on and stuff.

And me and Neil are like, "What on Earth is going on?"

And then eventually one guy goes, "Ladies and gentlemen, if you haven't ordered already, please leave. If you're still eating your meal, please finish up, pay your bill, leave."*

[* - delivered in a perfect American ‘serious law agent’ accent/impression]

And we were like, "Oh my God, are we poisoned? Is there some terrible thing that's happened?"  

We'd finished, so we pay our bill.  And then all the kitchen staff are brought out. And the head chef is there. The guy who's been bringing us this food. And he's in tears. And he says to Neil, "I'm so sorry." He apologizes to Neil.  And we leave. We have no idea what happened.

DAVID: But you're assuming it's the mystery dish.

MICHAEL: Well, we're assuming that we can't be going to – we can't be –  it can't be poisonous. You know what I mean? It can't be that there's terrible, terrible things.

So the next day was the Oscars, which is why Neil was in town. Because Coraline had been nominated for an Oscar. Best documentary that year was won by The Cove, which was by a team of people who had come across dolphins being killed, I think.

Turns out, what was happening at this restaurant was that they were having illegal endangered species flown in to the airport, and then being brought around the back of the restaurant into the kitchen.

We had eaten whale – endangered species whale. That was the mystery dish that they didn't say what it was.

And the team behind The Cove were behind this sting, and they took them down that night whilst we were there.

DAVID: That’s extraordinary.

MICHAEL: And we didn't find this out for months.  So for months, me and Neil were like, "Have you worked anything out yet? Have you heard anything?"

"No, I haven't heard anything."

And then we heard that it was something to do with The Cove, and then we eventually found out that that restaurant, they were all arrested. The restaurant was shut down. And it was because of that. And we'd eaten whale that night.

DAVID: And that was your first meeting with Neil Gaiman.

MICHAEL: That was my first meeting. And also in the drive home that night from that restaurant, he said, and we were in my Mini, he said, "Have you found the secret compartment?"

I said, "What are you talking about?" It's such a Neil Gaiman thing to say.

DAVID: Isn't it?

MICHAEL: The secret compartment? Yeah. Each Mini has got a secret compartment. I said, "I had no idea." It's secret. And he pressed a little button and a thing opened up. And it was a secret compartment in my own car that Neil Gaiman showed me.

DAVID: Was there anything inside it?

MICHAEL: Yeah, there was a little man. And he jumped out and went, "Hello!" No, there was nothing in there. There was afterwards because I started putting...

DAVID: Sure. That's a very Neil Gaiman story. All of that is such a Neil Gaiman story.

MICHAEL: That's how it began. Yeah.

DAVID: And then he came to offer you the part in Good Omens.

MICHAEL: Yeah. Well, we became friends and we would whenever he was in town, we would meet up and yeah, and then eventually he started, he said, "You know, I'm working on an adaptation of Good Omens." And I can remember at one point Terry Gilliam was going to maybe make a film of it. And I remember being there with Neil and Terry when they were talking about it. And...

DAVID: Were you involved at that point?

MICHAEL: No, no, I wasn't involved. I just happened to have met up with Neil that day.

DAVID: Right.

MICHAEL: And then Terry Gilliam came along and they were chatting, that was the day they were talking about that or whatever.

And then eventually he sent me one of the scripts for an early draft of like the first episode of Good Omens. And he said – and we started talking about me being involved in it, doing it – he said, “Would you be interested?” I was like, "Yeah, of course."  I went, "Oh my God." And he said, "Well, I'll send you the scripts when they come," and I would read them, and we'd talk about them a little bit. And so I was involved.

But it was always at that point with the idea, because he'd always said about playing Crowley in it. And so, as time went on, as I was reading the scripts, I was thinking, "I don't think I can play Crowley. I don't think I'm going to be able to do it." And I started to get a bit nervous because I thought, “I don't want to tell Neil that I don't think I can do this.”  But I just felt like I don't think I can play Crowley.

DAVID: Of course you can [play Crowley?].

MICHAEL: Well, I just on a sort of, on a gut level, sometimes you have it on a gut level.

DAVID: Sure, sure.

MICHAEL: I can do this.

DAVID: Yeah.

MICHAEL: Or I can't do this. And I just thought, “You know what, this is not the part for me. The other part is better for me, I think. I think I can do that, I don't think I could do that.”

But I was scared to tell Neil because I thought, "Well, he wants me to play Crowley" – and then it turned out he had been feeling the same way as well.  And he hadn't wanted to mention it to me, but he was like, "I think Michael should really play Aziraphale."

And neither of us would bring it up.  And then eventually we did. And it was one of those things where you go, "Oh, thank God you said that. I feel exactly the same way." And then I think within a fairly short space of time, he said, “I think we've got … David Tennant … for Crowley.” And we both got very excited about that.

And then all these extraordinary people started to join in. And then, and then off we went.

DAVID: That's the other thing about Neil, he collects people, doesn't he? So he'll just go, “Oh, yeah, I've phoned up Frances McDormand, she's up for it.” Yeah. You're, what?

MICHAEL: “I emailed Jon Hamm.”

DAVID: Yeah.

MICHAEL: And yeah, and you realize how beloved he is and how beloved his work is. And I think we would both recognise that Good Omens is one of the most beloved of all of Neil's stuff.

DAVID: Yes.

MICHAEL: And had never been turned into anything.

DAVID: Yeah.

MICHAEL: And so the kind of responsibility of that, I mean, for me, for someone who has been a fan of him and a fan of the book for so long, I can empathize with all the fans out there who are like, “Oh, they better not fuck this up.”

DAVID: Yes.

MICHAEL: “And this had better be good.” And I have that part of me. But then, of course, the other part of me is like, “But I'm the one who might be fucking it up.”

DAVID: Yeah.

MICHAEL: So I feel that responsibility as well.

DAVID: But we have Neil on site.

MICHAEL: Yes. Well, Neil being the showrunner …

DAVID: Yeah. I think it takes the curse off.

MICHAEL: … I think it made a massive difference, didn't it? Yeah. You feel like you're in safe hands.

DAVID: Well, we think. Not that the world has seen it yet.

MICHAEL (grimly): No, I know.

DAVID: But it was a -- it's been a -- it's been a joy to work with you on it. I can't wait for the world to see it.

MICHAEL: Oh my God.  Oh, well, I mean, it's the only, I've done a few things where there are two people, it's a bit of a double act, like Frost-Nixon and The Queen, I suppose, in some ways. But, and I've done it, Amadeus or whatever.

This is the only thing I've done where I really don't think of it as “my character” or “my performance as that character”.  I think of it totally as us.

DAVID: Yeah.

MICHAEL: The two of us.

DAVID: Yes.

MICHAEL: Like they, what I do is defined by what you do.

DAVID: Yeah.

MICHAEL: And that was such a joy to have that experience. And it made it so much easier in a way as well, I found, because you don't feel like you're on your own in it. Like it's totally us together doing this and the two characters totally complement each other. And the experience of doing it was just a real joy.

DAVID: Yeah.  Well, I hope the world is as excited to see it as we are to talk about it, frankly.

MICHAEL: You know, there's, having talked about T.S. Eliot earlier, there's another bit from The Wasteland where there's a line which goes, These fragments I have shored against my ruin.

And this is how I think about life now. There is so much in life, no matter what your circumstances, no matter what, where you've got, what you've done, how much money you got, all that. Life's hard.  I mean, you can, it can take you down at any point.

You have to find this stuff. You have to like find things that will, these fragments that you hold to yourself, they become like a liferaft, and especially as time goes on, I think, as I've got older, I've realized it is a thin line between surviving this life and going under.

And the things that keep you afloat are these fragments, these things that are meaningful to you and what's meaningful to you will be not-meaningful to someone else, you know. But whatever it is that matters to you, it doesn't matter what it was you were into when you were a teenager, a kid, it doesn't matter what it is. Go and find them, and find some way to hold them close to you. 

Make it, go and get it. Because those are the things that keep you afloat. They really are. Like doing that with him or whatever it is, these are the fragments that have shored against my ruin. Absolutely.

DAVID: That's lovely. Michael, thank you so much.

MICHAEL: Thank you.

DAVID: For talking today and for being here.

MICHAEL: Oh, it's a pleasure. Thank you.

[estrellogy]

Astro Notes Pt. 4

Thank you to everyone who participated in the poll!

- Both water and air signs, especially risings here, are good at mirroring others. But they often evoke different responses. Water signs are often projected on because like water, they reflect directly what energy others are giving out. Water deals more with subconscious emotions and energies that others may not even be aware of themselves. Air signs, on the other hand, mimic and adapt. They are social chameleons who know what’s expected from them. That’s why they are often well-liked.

- Scorpio placements, especially sun and rising, if underdeveloped, can pride themselves on their manipulation skills and how good they are at lying. They are extremely emotionally intelligent, observant, and aware of their environment. These are the keys to be a good manipulator. However, when they mature, they’ll use these natural abilities in much more productive ways. They grow to value truth and integrity above all else because they’ve experienced the other side of it.

- Personal experience: I have Moon in 9th house and traveling is so intertwined with my life. Two out of three siblings on my dad’s side (my dad and his sister) work in the airline industry, so they travel all the time as part of their jobs. My mom is a Sagittarius moon and she loves traveling. She would let me skip school sometimes to travel. It’s so interesting to see how astrology is not only reflected in an individual’s chart but is connected through generations.

- Speaking of 9th house. I have a theory that if you want to improve your social skills and charisma, work with your 9th house energy. People usually focus on their 1st, 7th, and 10th house because they are social/relationship houses. Maybe 3rd house since it focuses directly on communication. But 9th house is the house of higher learning, philosophy, and hope. I think we often connect best with others when we discuss about our own life philosophies, our live experiences and lessons, and our hopes and dreams. 9th house represents such an interesting and expansive part of us that’s often overlooked. I think 9th house is where our human spirit is stored.

When you’re deeply connected to this well of positivity, wouldn’t you naturally become charismatic and interesting and fun? That’s why Sagittarius is such a charming sign. Even though it’s not ruled by the beautiful Venus or glamorous Neptune, it radiates light. Work with your 9th house to unlock your own charm. It is that which attracts people.

- Sun sextile Pluto women have a very subtle way of getting people to do what they want. They don’t try to dominate or force, but they play into their natural strengths. For example, if they notice that people respond well whenever they come across as innocent/childlike, they’ll play more into it. They don’t alter their authentic self but more like, they add spice to it. Sun trine Pluto does this more naturally, sometimes without even realizing. But sextile is much more intentional.

They’re usually quite playful and flirty individuals. They gain power without people noticing. Sometimes, they even give up a little bit of power, become intentionally vulnerable, while gaining the upper hand without the other person knowing. They truly understand power = influence, not control. Fascinating people to observe.

- Taurus will take their time. That’s why they’re master seducers. They don’t make their suitors wait simply to play games. They are genuinely picky and know their worth. Like any earth sign, they know the value of time, especially theirs. So they would rather wait to see if the other person is worth it than jump blindly into it and have their time wasted. It also helps that they are so sensual and tempting, which comes from being deeply connected to their physical senses and body. They radiate feminine power. Venus in 2nd house also applies.

[knownoshamc]

how I think want 70s-80s Devil's Minion is going to be (unpopular?). An essay, by me. (edit: apparently I do have to make it clear that these are all my own headcanons and I'm aware that they are not a healthy couple)

The "chase" lasts a couple of months instead of years

they start as the popular fucked up sex

Armand takes Daniel on a hunt, to show him how he plays with his food sometimes, how look I could be doing the same to you. But Daniel very loudly thinks fuck that's hot

Daniel starts picking up on how Armand behaves during sex (even how dissociates sometimes), since most of the time it's when and how Daniel wants (the normal thing for Armand). He starts checking on him more, like you sure, we can do something else // are you comfortable with that? // are you okay? it's just sex for them, sure, but there is this change.

but... they also start dating. once, for fun, they are curious. more dating. Dates are Armand using his mind gift so they have the restaurant by themselves. Taking Daniel to the top of a building so he can have the best view. Museums, galleries, movies...

And Armand brings him flowers, chocolates and poetry and Daniel playfully rolls his eyes and then giggles and kisses him and he even keeps the now dried flowers. Daniel returns the favour, and Armand looks at him as if he brought him the most exquisite and most expensive gift in the world.

Daniel makes Armand laugh for the first time (Armand smiles, smirks even grins, but he doesn't easily laugh) and Daniel realizes he is in love with him. He loves how Armand can be ruthless, cruel, cold with the humans he hunts before giving them an easeful death. He loves how excited with simple things like a phone, a microwave, a blender. How he lets his mask slip sometimes (more and more as time passes) and he sees the real him, the vulnerable side he rarely shows, the anger towards the world he thinks he doesn't deserve to feel.

Armand realises he is in love with Daniel earlier, in little moments, like how human Daniel is and how for the first time in centuries that is fascinating and not indifferent. And he loves Daniel because of how excited he is when he writes something or when he wants to read to Armand an interesting book/article/something he wrote, how clever he is, how he can be cold and compassionate at the same time...

And they talk about little and big things, from a good restaurant that Armand saw pass from generation to generation, to philosophy. And Armand reads Daniel's mind to see if his mind wanders and... Daniel is fully invested. Like I love getting to know you, how you think, what you think, who you are, tell me all about you. And Armand does. He tells Daniel the most.

they are in love and explore the world together and all its fascination and simplicity, and they are really happy.

but... Daniel doesn't want this to end, he wants to stay young forever, he wants to spend forever with Armand. How can't Armand see that this is not just because Daniel wants to be with him for eternity?

Armand sees how his own darkness but lure Daniel in... a bit too much. How he thinks that watching someone die and getting a life is the same thing, how he romanticises vampirism. How maybe he focuses on Armand a lot, and misses a deadline at work. A work that he loves. Maybe one day he catches a fleeting thought of Daniel wanting children someday. But he doesn't bring it up right away. He doesn't want to lose him. And he just can't understand how Daniel can love him unconditionally.

Then Daniel proposes to him in Paris. He has a ring and a romantic little speech to go along with it. But does it really mean he loves him? Or that he wants for Armand to make him a vampire? Isn't that what marriage is, after all, a promise of forever? How can Daniel just love him? So he says no.

Daniel is hurt, he is angry that Armand doesn't really trust his love and he tells him that yeah maybe he does want kids, a family, normality. And maybe a part of him does. They break up.

Daniel meets a girl, Alice. He doesn't fall in love, she doesn't really fall in love either, but they like each other. They get together. She gets pregnant.

Daniel needs Armand's blood (he needs Armand) but he can't have that, so he turns to his old comfort, drugs. It gets bad, he goes back to Armand, asking to get back together, asking for his blood, Armand says no and Daniel storms off to get his high somewhere else. He comes back a couple of days later, apologising and promising he won't ever do it again, he will really get clean this time. Again. And again. Until he comes very close to overdosing, and Armand takes care of him until he can actually go to a rehab facility, even though Daniel just begs him for his blood, to just turn him or let him die.

And this time, he knows what to do. Daniel can't have his normal life if Armand is still in his mind. So he just... erases it all. It's the only way. He couldn't see another way. And Daniel understands what Armand intends to do and he is crying, asking him not to do it, that he can get over this on his own, but Armand doesn't trust him, so he just tries to calm him down, telling him how great his life is going to be, with a brilliant career, a family... happiness. An easeful breakup.

thank you for coming to my ted talk

[iomoru]

"He's The Type To..."

A/n: I couldn't decide between kazuha and albedo so I did both

Genre: Hcs, Modern! Au, Fluff, Suggestive Smut, Teasing, G!n Reader, Kazuha x Reader, Albedo x Reader, Proofread

Kazuha:

• He's the type to send you spontaneous texts throughout the day, sharing random thoughts, pictures of the sky, or the poems he's working on. It's basically his way of keeping you close, even when your apart.

• He's the type to sneak you away to quiet, scenic spots. He'll find the perfect hill or rooftop to lie back and stargaze, playing soft melodies on his guitar as he whispers poetry under his breath.

• He's the type to silently admire you while you're talking, a small, content smile on his lips. You'll ask what's he's thinking, and he'll just shake his head, brushing a stray strand of hair behind your ear, replying, "You're captivating."

• He's the type to pull you into his lap when you're both just lounging around, absentmindedly playing with your hair while his other hand traces patterns on your thigh. There's a soft intimacy to the way he holds you, but it lingers with a hint of something more.

• He’s the type to get lost in deep conversations with you late at night. He'll talk about his dreams, his philosophy on life, and how much he appreciates your presence, all while his hands slowly drift over your skin, his touch becoming more intentional as the night goes on.

• He’s the type to be subtle but intentional when it comes to showing affection. A light brush of his fingers down your arm, a kiss to the back of your neck when you least expect it, or the way he’ll draw you in closer if you start teasing him a little too much.

• He's the type to tease you about how easily you get flustered. Whenever you stumble over your words or blush at something he says, he'll tilt his head and smirk slightly, leaning in closer just to murmur, "You're really cute when you're shy, you know that?"

• He's the type to playfully challenge your boundaries, letting his hands rest at the curve of your waist when you're both alone, his fingers tracing dangerously close to more sensitive areas. He'll flash a teasing smile and ask, "What's wrong love? You seem a little distracted."

• He's the type to whisper lustful comments in your ear in public, completely unfazed, leaving you the one struggling to keep composure. When you ask him to stop, he'll chuckle softly, "I'm just talking, what's on your mind?

• He's the type to lean in for a kiss but pull back at the last second, enjoying the way you lean forward to chase his lips. "Impatient, are we?" He'll tease, only to give in moments later, kissing you deeply while his hands slide down your back, pulling you flush against him.

Albedo:

• He’s the type to get so absorbed in his work that you have to remind him to eat. He’s always grateful when you bring him snacks or drinks, and the soft smile he gives you makes the effort worth it every time.

• He’s the type to silently observe you when you’re doing something mundane, like reading or working. He finds your everyday actions fascinating and is always curious about how your mind works.

• He’s the type to be incredibly thoughtful with his gifts. He’ll design something especially for you, whether it’s a sketch, a small invention, or even a carefully chosen flower that he says reminded him of you. His gifts always come with an explanation of the deeper meaning behind them.

• He’s the type to hold you close when you’re both in bed, his hand resting gently on your waist. He’ll trace circles on your skin, his voice low as he murmurs scientific facts or musings about the universe until you fall asleep against his chest.

• He’s the type to get flustered when things start getting a bit more intimate. His usual calm and collected demeanor falters slightly, his breath catching as your lips trace along his jawline. He may not be as forward, but the way his grip tightens on your hips speaks volumes.

• He’s the type to engage in long, heated debates with you about random subjects. Even when you challenge his knowledge, there’s a glint of excitement in his eyes. The playful back-and-forth often ends with him pulling you into his arms, murmuring how much he enjoys your mind as much as your presence.

• He's the type to subtly tease you about how much you crave his attention. When you pout or tug at his sleeve for affection, he'll raise an eyebrow and smirk slightly, "Needy today, aren't we?" His tone is soft, but there's a glint in his eyes that shows he's fully aware of the effect he has on you.

• He's the type to make sly, teasing comments during your study or work sessions together. If you make a mistake, he'll hum thoughtfully, leaning close as if to help, but instead whisper something suggestive in your ear, "You seem distracted...I wonder why." He loves watching the way you tense up or blush.

• He's the type to gently push your buttons, especially when you're in a quiet moment together. He'll brush his fingers lightly along your thigh under the table, or trace his hand down your back, just to see how you react. When you shoot him a look, he'll smile innocently, "Darling I'm just testing a hypothesis."

• He's the type to get a little more bold behind closed doors, especially when you've been teasing him all day. He'll pin you lightly against a surface, his lips just barely touching yours as he whispers, "You've been asking for it, haven't you?" His hands will roam around your body calculated precision, each touch deliberate and torturously slow.

A/n: I might not make a part 2 because I'm so tired and kinda lazy to do it but if I did then it'll be about Heizou and Xiao, ONLY if I did I'll still think about it

© ²⁰²⁴ ɪᴏᴍᴏʀᴜ

[ask-asks]

These Are Sure Some Asks

What do you really need right now?

What are some of the things that have made you who you are?

What are some of your pet peeves?

Share a dark thought? (Go on, vent a little)

Something that makes you ridiculously happy?

What are you craving?

Song stuck in your head?

Last thing you watched?

Shows on your watch list?

Books on your reading list?

Something on your wish list?

Something you want to monologue about?

If you were a note, what note would you be?

Tactician, fighter, generalist, or supportive role?

Talk about a stuffie.

They say you can tell a lot about a person from the state of their desk... Do you have a desk? Can you describe it?

Space, enchanted forest, magical kingdom, or underwater city?

What are some of the meanings of your name? (Or url if you don't want to say.)

What fictional doctor do you wish was your doctor?

Are you a gamer? What was the last game you played?

How do you take your pizza?

Strangest thing that has happened to you this week?

Share a bit of philosophy?

Do you follow the news?

What's on your mind?

What is your dream mode of transportation?

What fascinates you about humanity?

What about life makes you smile?

A dream you wish to make true?

What is your favourite way to create?

Insert your own question here!

[rainintheevening]

Peter writes home from the battlefield every chance he can.

Lucy's letters are full of barely rhyming, rambling poetry, talk of stars and trees and any plants or animals he's seen. He puts in all the words that will never describe any of this, but still there is a great sky above him, and a big heart in his chest, and he hopes she will understand. She could if anyone can.

To Edmund he sends the muddy, bloody, wobbly-writing letters, the ones with rambling memories of Narnian battles and strategy, though he takes care to phrase it as 'playing in the woods', not wanting the censors to get leery. There are also many theological musings, and usually the continuation of whatever Bible verse Ed has sent in his letter. I wish you were here, and yet I am glad you are not, is a sentiment oft repeated.

Susan and Mother usually get the same letter, little stories of kindness shown or soft things appreciated. He asks them for more socks for Jackie, an extra bar of chocolate for Hamish, tells them how he's gotten his whole unit to memorize the Jabberwocky poem, and they make each other smile with it.

Dad is usually named with Susan and Mother, but sometimes he gets an extra scribble, usually a single scripture reference, or the name of a local boy now dead, and a few things Peter asks him to go tell the family.

Eustace gets the occasional missive folded in with the rest, usually sketches of aeroplanes, with which Eustace is fascinated, though they aren't very good sketches. If there's a sketch for Eustace, there is usually also a sketch for Jill, something Narnian, a sword or a forest or a castle.

Professor Kirke only gets occasional letters, usually short and to the point, but written in particularly formal language, as of a king writing to a dear advisor.

They all write to Peter.

Professor Kirke sends exerpts of whatever philosophy or theology or history books he just happens to be reading at the time he remembers to write. Sometimes it seems very random to Peter, but he loves it.

Eustace's letters are infrequent, but burst with colourful descriptions of his school life that make Peter laugh.

Dad usually just scribbles scripture references at the bottom of Mother's letters. Susan signs those too. Mother's letters are full of ordinary home life, rich with the warmth of hearthlight and fresh baking and good books and comfortable chairs and a much loved old quilt. She says what everyone is doing much more clearly, tells how the garden is coming in.

Mother and Susan are also very good at writing to the boys who don't have anyone to write to them. (Peter has a picture of his family, and everyone in Peter's unit thinks Susan is the prettiest girl in Europe, that she should be a queen, but they all watch what they say around Peter, they know how he feels about his sister's honour. But it really does bring up morale.)

Edmund doesn't usually say a lot, but he's regular, always engaging with whatever musings Peter put in his previous letter, making some of his own references to Narnia, usually to things Oreius taught them, and always concluding with a Bible verse. Half the time Ed absently addresses the missive To High King Peter, my brother... He never actually says I'll find you when I join up, I promise, it's just sort of there, between the lines.

Lucy's letters are like blue sky and fresh air and a fierce hug. Sometimes Peter can almost smell Narnia on the paper. They're not long, but she says I love you all the time, and talks of the weather and the flowers, and the girls at school who are struggling, and how she's trying to help them, and there's always a bit of poetry or a hymn that she's written, but it's actually good, compared to Peter's stuff. Courage, dearest brother, she always says. Remember the Lion, she always finishes.

Peter gets so many letters he has to start sending them back to his family for safe keeping.

[bildads-shoes]

I feel like Crowley has often played the role of 'philosophy teacher' in his dynamic with Aziraphale, and I think this is probably what ultimately led to most of the backlash against Aziraphale immediately post-Season 2, especially from casual viewers.

The Resurrectionists episode is super obvious about it, big Philosophy 101 energy, but it's of course a big running theme in the show, often addressing the classic philosophical/theological question 'if God/Heaven are all-loving and all-powerful, why do they make us suffer?'

In these situations Aziraphale is often needing to learn to break free of his black and white thinking. Of course, we, the viewers, agree that morality is not black and white, so we start trusting Crowley's ability in the teacher role.

And it happens again in the Final Fifteen: we cringe at the stark oversimplification of 'you're the bad guys', we agree that Heaven and Hell are 'toxic' with their rigid rules and roles. Having seen so many examples of this dynamic at this point, this can instinctively feel like a continuation of Crowley's 'morality is not black and white' lessons. Therefore it makes sense to me that the instinct can be to agree that Crowley 'understand[s] a whole lot better' than Aziraphale.

I could go on for days about why I feel Aziraphale's character is so much more nuanced than that, but I want to focus on Crowley here. When you start trusting someone in that 'teacher' role, it's easy to assume they have it all figured out. That's why the whole 'Crowley is an unreliable narrator when it comes to his Fall' confirmation always had me so intrigued.

It seems (to me at least) that Crowley probably made some very complex, grey choices as an angel (choices that were not as bad as Heaven feels, but not as good as Crowley likes to think, to paraphrase NG) and he is yet to accept the reality of those actions. To me, it feels like he's coped with that cognitive dissonance by entirely detaching from that identity at times, almost as though those were the actions and experiences of another person (the angel you knew is not me) whilst returning to the first person in moments of vulnerability (I only ever asked questions). Judging by the hints at Angel!Crowley throughout S2, I think (hope) we'll learn more about the Fall in S3, and thus see him finally need to internally resolve this

I think it'll be very interesting to finally see that dynamic flip, to see Crowley in the role of the student, trying to solidify his moral code and sense of self as we have seen Aziraphale do throughout the show.

I suppose I hope that in potentially having Crowley's own struggles with morality becoming more explicit on screen in Season 3, the broad attitude towards Aziraphale and Crowley will become a bit more balanced again. I think it'll be lovely to see them grow in their understanding and acceptance of themselves and each other, and finally reach a place of joy and freedom as individuals and together. We'll always have our own personal character interpretations, and I think that's wonderful and fascinating to hear about, but at the end of the day we're all rooting for their happy ending, and I can't wait to see them finally get it.

[hedgehog-moss]

Inspired by your last ask! What are the best French books you’ve read that have no English translation yet? I read Play Boy and Qui a tué mon père (really loved the latter) last year and it feels so fun to read something that other Americans can’t access yet

I'm too nervous to make any list of the Best XYZ Books because I don't want to raise your expectations too high! But okay, here's my No English Translation-themed list of books I've enjoyed in recent years. I tried to make it eclectic in terms of genre as I don't know what you prefer :)

Biographies

• Le dernier inventeur, Héloïse Guay de Bellissen: I just love prehistory and unusual narrators so I enjoyed this one; it's about the kids who discovered the cave of Lascaux, and some of the narration is written from the perspective of the cave <3 I posted a little excerpt here (in English).

• Ces femmes du Grand Siècle, Juliette Benzoni: Just a fun collection of portraits of notable noblewomen during the reign of Louis XIV, I really liked it. For people who like the 17th century. I think it was Emil Cioran who said his favourite historical periods were the Stone Age and the 17th century but tragically the age of salons led to the Reign of Terror and Prehistory led to History.

• La Comtesse Greffulhe, Laure Hillerin: I've mentioned this one before, it's about the fascinating Belle Époque French socialite who was (among other things) the inspiration for Proust's Duchess of Guermantes. I initially picked it up because I will read anything that's even vaguely about Proust but it was also a nice aperçu of the Belle Époque which I didn't know much about.

• Nous les filles, Marie Rouanet: I've also recommended this one before but it's such a sweet little viennoiserie of a book. The author talks about her 1950s childhood in a town in the South of France in the most detailed, colourful, earnest way—she mentions everything, describes all the daft little games children invent like she wants ageless aliens to grasp the concept of human childhood, it's great.

I'll add Trésors d'enfance by Christian SIgnol and La Maison by Madeleine Chapsal which are slightly less great but also sweet short nostalgic books about childhood that I enjoyed.

Fantasy

• Mers mortes, Aurélie Wellenstein: I read this one last year and I found the characters a bit underwhelming / underexplored but I always enjoy SFF books that do interesting things with oceans (like Solaris with its sentient ocean-planet), so I liked the atmosphere here, with the characters trying to navigate a ghost ship in ghost seas...

• Janua Vera, Jean-Philippe Jaworski: Not much to say about it other than they're short stories set in a mediaeval fantasy world and no part of this description is usually my cup of tea, but I really enjoyed this read!

Essays / literary criticism / philosophy

• Eloge du temps perdu, Frank Lanot: I thought this was going to be about idleness, as the title suggests, and I love books about idleness. But it's actually a collection of short essays about (French) literature and some of them made me appreciate new things about authors and books I thought I knew by heart, so I enjoyed it

• Le Pont flottant des rêves, Corinne Atlan: Poetic musings about translation <3 that's all

• Sisyphe est une femme, Geneviève Brisac: Reflections about the works of female writers (Natalia Ginzburg, Virginia Woolf, Sylvia Townsend Warner, etc) that systematically made me want to go read the author in question, even when I'd already read & disliked said author. That's how you know it's good literary criticism

Let's add L'Esprit de solitude by Jacqueline Kelen which as the title suggests, ponders the notion of solitude, and Le Roman du monde by Henri Peña-Ruiz which was so lovely to read in terms of literary style I don't even care what it was about (it's philosophy of foundational myths & stories) (probably difficult to read if you're not fully fluent in French though)

Did not fit in the above categories:

• Entre deux mondes by Olivier Norek—it's been translated in half a dozen languages, I was surprised to find no English translation! It's a crime novel and a pretty bleak read on account of the setting (the Calais migrant camp) but I'd recommend it

• Saga, Tonino Benacquista: Also seems to have been translated in a whole bunch of languages but not English? :( I read it ages ago but I remember it as a really fun read. It's a group of loser screenwriters who get hired to write a TV series, their budget is 15 francs and a stale croissant and it's going to air at 4am so they can do whatever they want seeing as no one will watch it. So they start writing this intentionally ridiculous unhinged show, and of course it acquires Devoted Fans

Books that I didn't think existed in English translation but they do! but you can still read them in French if you want

• Scrabble: A Chadian Childhood, Michaël Ferrier: What it says on the tin! It's a short and well-written account of the author's childhood in Chad just before the civil war. I read it a few days ago and it was a good read, but then again I just love bittersweet stories of childhood

• On the Line, Joseph Ponthus: A short diary-like account of the author's assembly line work in a fish factory. I liked the contrast between the robotic aspect of the job and the poetic nature of the text; how the author used free verse / repetition / scansion to give a very immediate sense of the monotony and rhythm of his work (I don't know if it's good in English)

• The End of Eddy, Edouard Louis: The memoir of a gay man growing up in a poor industrial town in Northern France—pretty brutal but really good

• And There Was Light, Jacques Lusseyran: Yet another memoir sorry, I love people's lives! Jacques Lusseyran lost his sight as a child, and was in the Resistance during WWII despite being blind. It's a great story, both for the historical aspects and for the descriptions of how the author experiences his blindness

• The Adversary: A True Story of Monstrous Deception, Emmanuel Carrère: an account of the Jean-Claude Romand case—a French man who murdered his whole family to avoid being discovered as a fraud, after spending his entire adult life pretending to be a doctor working at the WHO and fooling everyone he knew. Just morbidly fascinating, if you like true crime stuff

[learnastrowallura]

🕯Mercury in Astrology

Information is from Chris Brennan's video on The Astrology Podcast YouTube channel on the topic of Mercury significations <3

Mercury: writing, speech, words, message, reign, translation, conveying, transmitting, information, interpretations, numbers, analysis, reasoning, details, dialogue, exchange, money, businesses, contracts, commerce, negotiating, indecision, disputation, questioning, doubts, distractions, speed, variety, irregularity, verstatility, changing, adaptability, flexibility, instability, inconsistency, knowledge, philosophy, service, teaching, mind, intelligence, intellect, language, communication, learning, poetry, voice acting, narration, acting, sharing, masculine, neutrality

Sun and Mercury:

Sun and Mercury are both centered around intelligence but in different ways; they complete each other. Sun is about divine knowledge and Mercury is about conveying, transmitting or communicating that knowledge or even perhaps analyzing it and extracting more wisdom as well as detail from it so I found this point particularly interesting. Sun illuminates with its rays and gives clarity by providing us with the truth and then Mercury expands on that truth and shares it with others in its charming versatile way as well

Sun vs Mercury sign:

Mercury does not move further than 28 degrees from the Sun meaning that the Mercury sign will always be the sign before or after the Sun sign (zodiacal signs are divided into 30 degrees) and so there is a bit of a differentiation (for lack of a better word) between who we are and the way we communicate and exchange information with other people if the Mercury and Sun signs are not one of the same. First example that comes to mind is having an Aries Sun Taurus Mercury and two people who are quite close to me have these placements; you would not know they were Aries Suns unless u asked hahaha even though one of them is an Aries rising too so that is something I wanted to note as well. Another example would be Sagittarius sun with Scorpio Mercury adding a lot of intensity to the person's communication style as well (which is something I relate to as you will see later on)

Domicile and exaltation:

Sooo Mercury rules over Gemini and Virgo so those are its domicile signs, it is how Mercury can manifest itself most comfortably whilst embodying its true essence. And then Mercury has its exaltation in Virgo as well which is pretty unique might I say and this gives me the vibes of (this my own way of seeing it so take it with a grain of salt) Mercury being more constructive in the sign of Virgo versus in Gemini just because of this particular distinction

But speaking of these two signs I do think they embody their Mercurial energies quite differently and shoutout to my friend @saturnianoracle for giving me the key words to describe this. First of all they are both analytic but Virgo is more of a skeptic I feel while Gemini tends to have more of an open mind. Virgo wants to see the evidence behind certain things to determine the merit or validity, to a certain extent, of the topics at hand to then decides if it wants to invest energy into looking into it more. It is very grounded as well as organized. With Gemini there is a certain sense of childlike curiosity that takes hold of this sign making it want to explore deep topics and of course stimulate its mind; it dives in without thinking and is more disorganized, inconsistent and chaotic I would say, and it loves conversing about its findings as well. I saw a tiktok video ancient astrology based describing Virgo and Gemini as the most intuitive signs which was fascinating to be honest u can watch it here

Detriment and Fall:

Mercury has its detriment in Sagittarius/Pisces and its fall in the sign of Pisces as well and the interesting thing noted in the video I watched (mentioned at the start) is that Sagittarius and Pisces are ruled by Jupiter, the biggest planet ruling over expansion and abundance, and with Mercury being on the smaller side you can really see that distinction of the Mercurial signs really often looking at the detail of things and well in contrast the Jupiter signs seeing the bigger picture. Also Jupiter being a benefic and ruling over luck makes me think that having these two placements is honestly not so bad tbh

Mercury in first house:

Mercury has its planetary joy in the first house of the self, highlighting the utmost importance of the curious, inquisitive and messenger qualities of the planet. What is interesting is the neutrality of Mercury and how we can link that with its joy being in the 1st house; a house that can be above or below the horizon, so even in this regard it stays neutral and does not "pick a side" if that makes sense; "acting as a bridge between the upper and lower hemispheres of the chart, a bridge between the celestial and terrestial realms which are united in the degree of the ascendant".

Source for the planetery joy information is Hellenistic Astrology: The Study of Fate and Fortune by Chris Brennan

I have made a more detailed post on planetary joys so check it out <3

Neutrality:

Mercury is not seen as a benefic or a malefic; it is considered a neutral planet. Of course, its manifestation and expression can be positive, negative or stay neutral depending on a few factors, such as:

Being in its domicile (Gemini/Virgo) or its exaltation (Virgo) sign is gonna lead it to manifest in a more constructive/beneficial way

Being in its detriment (Sagittarius/Pisces) or its fall (Pisces) sign would generally lead it to manifest in a less constructive way

Aspecting a benefic planet (Jupiter/Venus) would lead Mercury in this instance to manifest in a more constructive way as it is said to adopt the traits of benefic planet it is associated with

Being in a benefic ruled sign; meaning a Jupiter ruled sign as mentioned beforehand (Sagittarius Mercury, Pisces Mercury) or a Venus ruled sign (Taurus Mercury, Libra Mercury) would manifest in the same manner mentioned above

Aspecting a malefic planet (Mars/Saturn) leads Mercury to take on the traits of that malefic planet as well

Being in a malefic ruled sign so either Mars ruled (Aries Mercury, Scorpio Mercury) or Saturn ruled (Capricorn Mercury, Aquarius Mercury) leads us to Mercury adapting to that malefic's traits again

Triplicity also matters and I will make a detailed post on it soon but for now all I can say is that having Mercury in an air sign (Gemini, Aquarius, or Libra) adds on to the "power" that the Mercury placement has within the chart and the support that it gives to the native; if we are dealing with a day chart then Mercury has moderate support in the air sign in question (Saturn being its triplicity lord), and if it is a night chart then it maintains a powerful position within the chart, being its own triplicity ruler. (Source for triplicity rulership intormation is Ancient Astrology: in Theory and Practice: A manual of Traditional Techniques, Volume One: Assessing Planetary Condition by Demetra George)

That is all!! I wanted to go into more detail tbh but time simply does not allow it these days as I have my internship going on as well but I hope this was informative haha

Thank you for reading <3

Masterlist

Paid readings open

[maxarchive]

2024 L'Équipe Interview, "I always need to improve."

This fascinating dive into the heart of a champion's life, through his words, reveals the warm and endearing man described by those who know him intimately. A 26-year-old man, different from the one we have become accustomed to seeing over the years, this wild and cold beast who leaves no room for improvisation and feeling.

At your press briefing, you said you'd rather talk about your car than non-sporting problems. So, how is this RB20? It's great. I felt comfortable in it straight away. I'd say it was more of an evolution, an improvement on the previous car.

Is that so? Despite all the exterior changes, are your driving feelings close to those of last year? It's even a little better, a little more natural. And that's great.

Did you feel it as soon as you got into the car during winter testing? You can never be sure right from the first run, but I could see from the start that it was well balanced and, above all, that I could set a good time straight away. That's a sign that the car will be fast! After that, you have to know where the competition stands. We don't know how the others have worked.

Did you have the same feeling with the RB19 in early 2023? Pretty much, yes. There were a couple of things to sort out, but nothing dramatic.

Of all the Red Bulls you've driven driven since 2016, is there one that you like the most? The most fun were those of the previous generation (before the 2022 ground effect regulations).

The one from 2021? Exactly (his face lights up). The car was great, it was responsive. Today, they've become heavy, wide and long.

But do you like them all the same? When you're driving the best car on the grid, when it's a Formula 1 car, of course (he laughs).

Weren't those 2021 cars a little on the edge? Didn't they force you to make mistakes sometimes? (He reflects.) No, I don't think so. We managed to make the most of it, and then there was this philosophy, this way of to make it sharper (his hand mimics the diving single-seater like Red Bull used to design its single-seaters). I loved it.

Are you having more trouble today? (He smiles.) No… I don't care. I can adapt. But these 2021 cars, they went faster through the slow corners, they moved better. I was having more fun.

When they say you can drive any car, what would you do at the wheel of a Haas (last team in the standings last year)? (He smiles.) I don't think I'd win a race.

Not even a podium? Normally not (he reflects). Probably not. But I'd try do a better job than anyone else, that's for sure. After that, if the car is slow, it's slow.

It seems that since the advent of ground effect cars, you've been unbeatable. Do these single-seaters require special driving techniques and do you adapt better to them? I don't think so. If I'm successful, it's because I've got a great team around me who have built these fabulous cars. We had a bit of trouble getting back to the top with the old generation, but by 2021, we'd figured it out. And by 2022, things were looking up.

So, no change in style? Of course not. The cars have changed, and so have the tires. But we're adapting.

In what way? The car is heavier so I can't rely on it as much. The tires are wider, which means less visibility. The suspensions are so hard that we have to work on a new way of attacking the curbs.

Does that take time? Yes, it does. But it's the same for everyone.

Last week, Pierre Waché, the designer of the RB20, told us he really appreciated your technical feedback, that it allowed the team to progress. What do you have to ask him today, when you crushed the first race? Every car has its weaknesses and it takes time to overcome them. We haven't driven on enough tracks yet to tell you. Last year, it was the street circuits. This year, I'll tell you later, but I'd say they're details.

You give the impression of always having had a steering wheel in your hands. What's your first memory? (Instantly.) I was 3 years old and rode a mini moto.

And in a car? In August 2013, in Wales, on a Formula Renault 2-liter on the Pembrey circuit. It was my first experience in a single-seater. Something very different from karting. It took me a while to adjust my behavior and reflexes. I had no experience of tires, especially as it was raining. It was raining hard. The first few laps were a bit hard, and I spun a few times, but after that I had a blast. I had Michelin tyres which are excellent in these conditions. I just loved it.

Everything seems easy when you talk about driving. I was lucky enough to have a father who helped me a lot and gave me lots of advice. And the best thing was to let myself go and find the limit of the car.

Do you think your success can be explained by the talent or hard work you've put in to progress? Some people are more gifted than others. It's the same in soccer. The first day I drove a go-kart, I smiled (his eyes sparkle). And I haven't stopped since. The helmet (he mimes putting it on), I didn't take it off all day. I knew it was what I wanted to do.

This winter, you went GT racing with your father. Can't you stop stop driving? It's my passion. I also love the simulator. It's important because by changing cars all the time, you can adapt more quickly to the changes in F1. I need to try things out; I always need to improve. And I love making a car go faster (he smiles).

Alain Prost confided to us that his last year in F1, in 1993, was a very tense one, when he was favourite for the title with the best car in the field. Now, for your fourth title, you find yourself in a similar situation. How do you see this season? I'm not asking myself that question. If I don't win, I look for the reason why. Is it my fault? Then I'll correct the mistake. It's not my fault, so I'm going to help the team improve our performance. You can never win it all.

Is that why your duel with Lewis Hamilton in 2021 will surely go down as one of the greatest seasons in Formula 1 history? I know you're not going to agree with me (he smiles). But, in my eyes, the best was last year. People saw it as a one-sided domination, but you don't measure the degree of involvement of every member of the team in achieving this amazing result (21 wins out of a possible 22 for Red Bull, 19 for Verstappen). It's something I'm very proud of. It must have seemed boring to some people, but I don't care (his hands make a helpless gesture). I'm here to judge my performance and that of the team. And 2023 was the best season ever. The 2021 season doesn't even come close.

Translated via DeepL