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gar-trek · 4 years

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please share what you have to say about food cubes!!

I was feeling a little apprehensive about releasing the TOS Food Document™ because it is so damn long…. But since you asked anon

DISCLAIMER:

This is focused solely on food as it appears in the original series. Whatever explanation of food synthesizer/replicator that may come in later series does to apply here. I am also not a Star Trek expert. I’m sure there is some super fan out there who knows everything there is to know about food in TOS, but that person is not me. This is just my thoughts as I’ve observed instances where food is shown or mentioned in TOS. If my thought process is flawed, or I make some claims that don’t really make sense, I am sorry. The food canon is very complicated and vague, so this is me just trying my best to make sense of it. I’d also like to mention I did not explicitly cover the meal scene in What Are Little Girls Made Of? Or the ice cream scene from And The Children Shall Lead, but I do make reference to them. I’m sure there are other food scenes I didn’t get to cover here, so if I’m missing a few pieces, I’m sorry.

Anyway… let’s get into it!

The original series, food, and other things that keep me up at night

I don’t care about continuity or plot holes in Star Trek: The Original Series, and if I did, I think the show would become rather unwatchable. It’s not about what happens to get us from plot point A to B, but more important that we do get there (ie, who cares how or why Spock’s brain has been removed from his body, it’s more important that we do get it back inside).

This being said, there is one aspect to TOS that baffles me to no end, and its something I just cannot overlook: the food. Food, the entire concept of it as it appears in TOS haunts me. Each time they show or mention food it makes less and less sense. It’s a never-ending nightmare and I spend every day trying to understand what goes on in the Enterprise Cafeteria. Today I would like to explore a couple food instances on TOS, and hopefully make a little sense of what is happening.

The first chilling incident: The Man Trap (S1E2) - Rand is a thief

In this episode, we see Yeoman Rand on her way to deliver Sulu his meal. She is carrying a tray of colored food cubes (which is what I will be referring to them as here, because there is no official name) and what we can assume to be some kind of alien variant of celery (earth celery with some red crap stuck on top). While waiting for the turbo lift, Rand eats one of the celery sticks intended for Sulu. My question is why. Like literally why does this happen. Sulu never mentions it (maybe he doesn’t notice). She never mentions it to him, which means we can assume she doesn’t want him to know. So why is Rand stealing food? Does she not get enough to eat? Is the limits for how much you get to eat on the Enterprise that strict you need to turn to thievery to get a proper meal? and if that the case, she’s shorting Sulu on his allotted food. In this same scene, we see Ensign Green (who is really a salt-sucking monster) make a grab for the tray as if he too is going to steal Sulu’d food. However, Rand slaps his hand away and asks “who do you think you are?”, a hypocritical statement considering Rand is also in the act of stealing food. So Rand, I must pose the same question to you. This scene has no resolution, so any interpretation is up to the viewer. Whether you think Rand's actions make her a girlboss or a thief, is up to you, however, one thing is undeniably true: Rand eats food off other people's plates.

Other food-related things of note in this episode is that Sulu sprinkles salt on the celery sticks. This means they are either bland or that's just his personal taste. Also, when Rand gives him his tray, he says “may the great bird of the galaxy bless your planet” and this has nothing really to do with food, I just thought it was kind of badass.

(Sulu’s food tray with 3 celery instead of 4 because Rand ate one)

Incident two: Charlie X (S1E3) - synthetic meatloaf

In Charlie X, we see Captain Kirk make this comment in passing:

“Today on earth it is Thanksgiving, if the crew has to eat synthetic meatloaf I want it to look like turkey.”

This statement leaves us with a couple undeniable truths:

1. Meatloaf is a meal option on the Enterprise.

2. It is synthetic, meaning the meatloaf may not contain any meat at all.

3. It is not shaped like turkey, but it is possible to do so.

if the meatloaf served on the Enterprise is synthetic, then it very well could be made out of the same stuff the colored food cubes are made out of. Also, (and this is pure speculation so take it with a grain of salt) since we never hear anyone refer to the colored food cubes by name, they could literally be the “synthetic meatloaf” that Kirk is referring to here. In this case, the term synthetic meatloaf would not mean a synthetic version of the popular American dish meatloaf but instead loafs of synthetic meat. Since we do not know exactly what synthetic meat looks like, it very well could be brightly colored cubes.

In either case, Kirk is asking them to turn synthetic food from one shape to another. We understand this is possible through the food synthesizer, however, if all the food they eat on the Enterprise is synthetic anyway, then why did Kirk specifically mention synthetic meatloaf in the shape of turkey? would the turkey not instead be made out of synthetic turkey? why must the synthetic turkey be made specifically out of meatloaf? isn’t every single food that comes out of the food synthesizer made out of the same thing? It would have made more sense for Kirk to say “it's thanksgiving so can you made the food synthesizers produce turnkey?”. However, Kirk is like, a really cool guy, so it is possible that the meatloaf comment is just a fun joke. Either way, we know that synthetic meatloaf is a standard menu item on the enterprise, yet we have never seen anyone consume it.

Incident 3: The Corbomite Maneuver (S1E11) - Green leaves

In this episode, Kirk goes in for a physical, and Doctor McCoy reports that the captain is 2 pounds overweight. In response to this, the Doctor changes the captain's dietary card to help him lose a little wight (🙄). We later see the captain served a “dietary salad” in place of his usual meals. The existence of dietary salad is interesting for many reasons. Most importantly, we understand that dietary salad is somehow better for you than what is usually served on the Enterprise. It most likely has a lower caloric intake than say, colored food cubes. However, as discussed before, most if not all the food on the Enterprise is synthetic. If the food is created, and not naturally made, then one can assume its caloric value can be controlled. Would it not be possible to make a lower-calorie version of colored food cubes? one would assume that the cubes are made to have the perfect amount of nutrients to satisfy yet keep humans a healthy weight if they are in fact a form of synthetic man-made food. How would the captain overeat, if portions are pre-determined by dietary cards? Is Kirk somehow going rouge and consuming food that is not created by the food synthesizer (the captain's secret cookie stockpile??).

The existence of this salad also begs another question: is it synthetic as well, or are they growing fresh salad on the Enterprise? We do know that they are able to grow things on the ship, however, there has never been any discussion of growing crops specifically for consumption. If this is the case though, it may explain why we often see crew members eating celery sticks. Perhaps things like celery sticks and dietary salads are grown on the Enterprise, but all other food is synthetically created. In which case, who’s job is it to harvest food and prepare it for meals? Did Rand have to put that dietary salad together all on her own?

One more interesting point about the Salad: When Kirk first receives it, he asks

“what in the devil is this? Green leaves?”

which prompts Rand to explain that it’s a salad. It is very possible that Kirk genuinely has no idea what a salad is. He may have never had one, nor heard of the food in his entire life. Later we see him eat the salad with his hands, which further proves the point that captain kirk doesn't know what salad is. Why captain Kirk would somehow have no knowledge of salad is up to speculation.

Incident 4: The conscience of the king (S1E14) - Cry over spilled milk

In this episode, Lieutenant Riley is served colored food cubes and a glass of what appears to be milk. There isn’t much of significance here, other than the fact we know it is possible to get a glass of milk with your meal on the Enterprise. Unlike Sulu, Riley doesn’t have any celery sticks but seems to have a larger serving of colored food cubes as compensation. We also learn that milk is served in a large glass, something that seems very impractical on a starship.

Riley proves my point moments later when he spills milk on a control panel and shatters the glass. This begs the question, who is going to clean that up?

Incident 5: Tomorrow is Yesterday (S1E20) - Chicken noodle soup

In this episode, the Enterprise accidentally beams a 60′s army man abroad their ship (for the second time). This random chad ensign asks the man if he’s hungry because he’s a troll I guess and he wanted to flex their cool future food machine. The army captain guy is like sure, I could go for some chicken soup right now (a very natural response to being beamed onto a spaceship for the first time). Chad ensign has like three cards in front of him, and I guess one of them just happens to be chicken soup because he puts it in the machine and the soup appears. Grant it, we never actually get to see the soup with out own eyes, but the army captain does seem to be pretty convinced that it is chicken soup just by the smell. This opens up a couple possibilities:

-The food synthesizer can make almost anything you want, and the card is maybe like a very broad category, like a dinner card, and when you put it in you can pick any dinner food you’d like.

-The food synthesizer can only make what is specific to each card, and the ensign just got extremely lucky and happened to have a card that was the exact food the army captain wanted.

More evidence, which we will go over later, points more towards the theory that one card is equal to one specific type of food. In this case, it is unclear how the synthesizer food cards are distributed, or how you get your pick of what food you would like. It is also more likely that options would be limited. This does make sense, however, it makes this scene very confusing, as, as I’ve pointed out, the ensign had a very limited number of cards, but exactly what the captain had asked for. Pure luck? what mind game was that Chad ensign trying to play with the poor man who was abducted from earth... we will never know.

One more very interesting thing is established here: The transporter room has a food synthesizer. Why this is is purely up to speculation. In my mind, having a food synthesizer in the transporter room would be like having a full kitchen where you park your car. Seems pretty useless, but maybe the guys in the transporter room requested easy access to snacks? Why the transporter room would get this special privilege is again, up to speculation.

Incident 6: Space Seed (S1E23) - Dinner with Khan

In Space Seed a special dinner is put together to welcome Khan onto the Enterprise. We see that they are being served colored food cubes and celery sticks. Doctor McCoy walks into the dining room and comments about how the display is “very impressive”. However, this seems like a very unusual comment considering we are shown the only food we have ever seen consumed on the Enterprise. What exactly makes this food “impressive” as compared to other celery sticks and colored food cubes? Is there some way to tell this particular food is better that we don’t know about, but is obvious to everyone on the Enterprise?

There is also a chance that Doctor McCoy is just very easily impressed with food, and upon seeing any food spread he is likely to comment in wonder. Note the way Scotty is looking at McCoy. His face is a mixture of confusion, judgment, and pity. Perhaps Scotty is thinking to himself “bruh, it’s literally just colored food cubes chill out man,”. There is no explanation as to why Scotty is giving McCoy such a look, so this very well could be the case. Even though it is a silly explanation, I don’t think it should be ruled out that one of McCoy’s personality traits is being overly excited about food of any kind.

Incident 7: Journey to Babel (S2E10) Party food

Much like in Space Seed, in this episode, we get to see a meal put together for a special occasion. All the diplomates are getting down at a mixer where a spread of food has been provided. These snacks seem very similar to colored food cubes, however I do think they differ. They may be the same type of food, but different in some way. In which case colored food cubes is an overarching category of food, and here we see two different types. The smaller more brightly colored cubes can be put in drinks, though if this is what you are supposed to do with them, or just the preference of that one alien species I do not know. Though I must point out, we have seen colored food cubes served in brown sauce in What are Little Girls Made Of? (S1E8) so it is not completely unheard of to have your colored food cubes served soggy.

The other type of colored food cubes we see are a lot larger and more pair shaped (in reality, they probably were just skinned pairs dipped in food coloring, but for this essay, it’s important that we completely ignore the fact there is another life outside of Star Trek). Now to me, these are very interesting, because the dull color and apparent texture are a lit more similar to standard colored food cubes we have seen thus far. I would even go o far to say that this is the same exact food, just sans the cubed shape. So really, standard colored food cubes are just the cubed version of whatever this food is. This, again, is just speculation, but it does point us to the fact that colored food cubes are not naturally cubed (I’m going somewhere with this is promise)

Incident 8: The Trouble With Tribbles (S2E15) The trouble with Chicken sandwichs

Here we see Kirk attempting to order a chicken sandwich and coffee. What he gets instead is a plate full of tribbles, hilarity ensues. I think this scene is interesting because we can add to our list of food items that are on the menu at the enterprise cafeteria: chicken sandwich. However, this is another food item we do not see. There is no way of knowing if the Enterprise's version of a chicken sandwich is what we would imagine a chicken sandwich to be. Much like the meatloaf and the soup, because we do not see it, there is no way of knowing if the food exists in the way that we as 21st-century people understand it. The events of TOS take place more than 200 years in our future, so to speculate that food could change a lot during that time isn’t a stretch. I don’t know, just some food for thought (lol)

Incident 9: By Any Other Name (S2E22) Living deliciously

In this episode, an alien taking the form of a human enjoys some colored food cubes. He makes a comment about how they are good they are while enthusiastically eating his food. This is a very important moment because it tells us that colored food cubes do taste good. In fact, they taste really good. Just before he eats, the alien comments on how humans could just take pills that give them all their nutrient needs and give up food completely (think the Jetsons cartoon). On the Enterprise, they do not eat just to live, but because they enjoy their food as well. This tells us that colored food cubes are at the very least, worth eating, and at the best, very delicious.

One more interesting thing: Spock is eating some kind of soup while everyone else enjoys colored food cubes. This could be a Vulcan preference, however, we know that Spock is vegetarian. This could be alluding to the fact that Colored Food Cubes are made out of meat.

Conclusion:

Yes, I asked a lot more questions than I answered. There are some things that make absolutely no sense to me, primarily, the food synthesizer and diet cards. Some evidence points to the fact that the food synthesizer can make practically anything (see Tomorrow is Yesterday, And the Children Shall Lead). However, one dietary card is equal to one specific food, which would mean they would have to produce a lot of these dietary cards if there is many meal options. How these cards are distributed, and what their limitations are, we do not know. And although we do not know the limits of what the food synthesizer can create, we do know these food have been served on the enterprise at least at one point:

-colored food cubes (variety)

-celery

-synthetic meatloaf

-synthetic turkey (Thanksgiving Special)

-Dietary Salad

-Milk

-Chicken Soup

-Chicken Sandwich

-Mystery Soup

-Ice cream (variety of flavors)

All of this food (except for maybe the dietary salad and celery) are synoptically created, so what they are actually made up of, I cannot say.

And finally, I would like to make a point about the colored food cubes. I think upon first inspection one would assume colored food cubes is a dish created specifically for space travel (think the food created for modern-day astronauts to consume in space). However, we learned that there is possibly a variety of colored food cube dishes. Since there is such a wide variety of food on the Enterprise, why would they also need to create a food specifically for space travel? I think that colored food cubes are actually a common dish, not intended specifically for space travel. Perhaps it was an alien food that got popular on earth, maybe it was a dish developed later in Earth's history by humans. I can only speculate, but I do think it is more than just boring space food. Everyone seems to have a preference for it, so I think it’s a dish you can eat over and over again and not get sick of. What colored food cubes taste like is completely up to speculation, but I would assume they are a savory food, considering we often see people enjoying them for their main meal.

I still have more to say, but for the sake of everyone, I’ll end it there. This was a lot of thought dumping, so if some of the things I said made no sense at all, I’m sorry. I’d love to hear some of your thoughts on TOS food! please share with me what you think colored food cubes would taste like :)

#star trek #tos #star trek tos #the original series #anon reveal yourself so i can kiss you #please #whole ass ted talk #sorry this is so long #colored food cubes #kirk #james t kirk #spock #bones #leonard mccoy #journey to babel #space seed #yeoman rand #sulu #hikaru sulu

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blueopinions49 · 2 years

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[SW OT] Leia Organa ENTJ 8w9 so/sp

Zodiac:Aries

MBTI

ENTJ (Te-Ni-Se-Fi)

Te (Extroverted Thinking)

I don't think there mis no debate input Leia’s dominant function.We see from her first appearance that Leia is able to think objectively through matters and recognize efficiency and logistic in all of her decisions. After Alderan was exploded the first thing she did was focus on the object at hand and keep moving forward. She likes being in leadership position and likes taking action. Similar to her father she likes getting things done fast.

Ni (Introverted Thinking)

There was a time were I was 100% sure Leia was an ESTJ and demonstrated allot of Si however after revisiting the saga I genuinely don't know where I got Si for Leia. When it comes to her processes Leia seems to prefer Te-Se rather than Te-Si Leia doesn't think of step by step processes and takes shorts steps to get there. She isn't particularly careful and isn't interested in these. But rather she would rather focus on an objective and adapt as she goes along (ni-se). Ive seen arguments stating that because she focus one the present that mean she is an Si user but this is just misunderstanding if focusing on the present would be a function it would be Se not Si.Furthermore one of the other arguments ive seen for ESTJ Leia is that she doesn't like taking risk but I don't think this is true. Compare to Luke Leia can come off as a bit too assertive and forceful while Luke (ne-si user) would rather be more careful about going about things. In The Return of the Jedi we can see how Luke calls out too Leia for being too quick on her feet. When it comes to Leia’s intuition we can see how she is able to form this long concrete vision of her moral compass she is able to see allot of potential In others specifically Han. Due to this she is able to understand the intentions of people more often than not. In Cloud city we see how Leia is able to trust her hunches of Lando. But Han eventually satiates those hunches with his Se. While if Leia was an Si user she wouldn't have had those hones in the first place she would've used Te-Si to simplify them.

Se (Extroverted Sensing)

As mentioned above Leia seems to be an ENTJ with a preference for Se. She would rather move fast and adapt rather than takes step by step solutions while exploring all objective futures. Compared to other ENTJs with a preference for te-se such as (Asuka, Bakugo and Gale weathers) we can see how they share various similarities in all of them. They prefer very fast paced methods and adapting as they go on.These ENTJs can be mistaken for Se does however there is a very clear defining trait between these an Se does is where they put their Fi and which how they handle other functions. For example Chuck Bass is an ESTP who many confuse for ENTJ however we can see that chuck doesn't use Te and isn't interested in objective goals like an ENTJ would rather he focuses on the current present (ill expand more on them when it go to gossip girl).

Fi (Introverted Feeling)

Leia is one of the few ENTj’s in media with very highly develop Fi and is extremely healthy at using. She breaks the mold for the classic XXTJ villains. She still uses Te to make all of her decision but still makes best sue of her Fi she is fully in-touch with her emotional self and her values. she starts the saga a bit more reserved and not letting her emotional values get the best of her. When alderman is destroyed she tells a general that they can lament the lost of the planet after everything is done. In Empire Strikes back she struggles to let her emotional be known to Han eventually falling for him. And in in Return of the Jedi we can see a fully evolved Leia with her functions in full display. Later on in the sequel trilogy we see how much Leia uses her fi in conversations with Rei.

Enneagram: 8w9 so/sp

Again I was wrong...While yes Leia being a competency type makes sense I think her being a reactive type makes the most sense to me. Her desire to get result comes from Te not E1. Further more I dont think Leia’s true desire is to find perfection and moral purity. I typed her as a sx 1 however after thinking about it her being an interpersonal type makes little sense. Her desires aren't about interpersonal perfection but rather extra personal freedom. The E1 desire is to perfect through morality however a healthy soc 8 desire is to use their anger and focus to creating a better world for others. I also considered soc 1w2 however I dont know how to feel about this since her soc 1 represses their anger too much and Leia is very outspoken and eager to correct others. I could possibly see 1w2 so/sx but I am leaning more to 8w9 so/sp currently.

Next is Han Solo…

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tenthgrove · 4 years

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Helloo~~

I was wondering if i could request,child!reader being adopted by Gelato and Sorbet(they kept the child a secret) and when they have to go away on a mission they leave child!reader with la squadra to look after? Howd they react? If this is okay!

La Squadra Babysitting Sorbet and Gelato’s Adopted Child

La Squadra x Reader, platonic/parental, sfw.

Sorbet and Gelato had always hoped to be parents someday. Originally intending to adopt by legal means as soon as they left the assassination busines, their plans altered considerably as their 30s dragged on with no sign of escape from the criminal underworld.

Still, you were an impulse.

Your parents were business folk. Though incredibly wealthy, they had run afoul of Passione and for that they had to be punished. Your room was on the far side of the mansion, where you couldn’t hear the sounds of your parents’ murders.

There was never a reason for the assassins to find you, but your fate was altered by a fleeting, split-second decision to find a different way out of the house. The second Sorbet and Gelato laid eyes on you, they knew their search for a child had ended.

For the merciless brutality they regard most of humanity with, your new fathers are excellent to you. You are showered with love every day of your life and you are never harmed or neglected. Within weeks you are already beginning to feel happier than you ever did with your old parents.

A few months after Sorbet and Gelato adopted you, you are bundled into the car with a bag of your things and driven to a large house in the middle of the city. You are somewhat familiar with this place as the dwelling of your fathers’ friends, and according to them, the place they spent most of their time before you came along. Still, you have not spoken much with the eccentric men who live inside, recalling little from your brief conversations with them other than their names.

Sorbet and Gelato lead you up the doorstep and kiss you goodbye. They explain that they have to go away for a few days for work, but their friends will take good care of you in the meantime. You watch them drive away, before a tall man clad in black calls you into the house.

Risotto- The Capo of La Squadra is still a little bitter about the stunt Sorbet and Gelato pulled to keep you with them. How convenient it was, that they simply forgot to inform him of your adoption until the point where it would simply be too cruel, even by Risotto’s standards, to demand they give you away. But even if he’s only known about your existence for a few weeks, you are still a part of Risotto’s family and he’ll be damn well sure the team looks after you like they promised. For one, Risotto will be overseeing everyone else’s responsibilities, making sure that anyone who agrees to watch you for a certain period actually does it. However, especially as the days drag on, Risotto will frequently find himself taking on your supervision personally. The man can clear a playground just by showing up, so whenever he has an hour free he’ll take you down there so you can get some fresh air. It fills you with a sense of pride and self-confidence to have such a scary-looking man as your friend. And having you smile at him makes Risotto feel human again.

Prosciutto- Jesus Christ on a bike. In retrospect, Prosciutto is starting to wish that the very obvious secret Sorbet and Gelato were badly hiding for those months really had been a plot against the boss. They would be more likely to come out of that alive than parenthood. But… Prosciutto isn’t going to risk getting his knees caved in for letting your health falter in their care, so the second-in-command is going to take on the more practical elements of baby-sitting you. Food, clothes, hygiene… he’ll bitch about it, but if anyone else offers to do it for him he’ll turn them down. The truth is, Prosciutto secretly enjoys looking after someone. It feeds his naturally caring nature, a side of him he rarely gets to explore.

Pesci- Personally he doesn’t know what everyone else is angry about. He thinks it’s great Sorbet and Gelato got a kid! They’re both so nice to everyone! (Pesci thinks this because he hasn’t been on many missions with them yet.) Prosciutto doesn’t like him spending too much time with you because he sees it as an excuse to slack off from his training, but whenever the opportunity arises Pesci is going to watch you play. He doesn’t join in, always fearing he’ll ruin things for you with his clumsiness somehow, but if you ask him, he will.

Formaggio- This guy has had like no experience with young children in a long, long time, so having you around is somewhat of a novelty to him. At first, he scares you a little with how loud and unpredictable he is, but it isn’t long before you find yourself having a lot of fun with him. He’d like to take you outside, kick a ball around perhaps, but Risotto insists that you’re only allowed out the house with him or Prosciutto. Instead, Formaggio will settle for watching some TV, always ready with his own weak-humoured commentary to make it more entertaining for you.

Illuso- He immediately finds himself more endeared to you than he would have liked. He shouldn’t be getting attached to some random kid, even if it is his colleagues’ child, but you’re just so damn sweet to everyone. Maybe it wouldn’t be so bad wasting his time with you. When things are getting tense around the hideout, Illuso will let you and you alone see him through the mirror. It always makes you giggle, and you forget whatever it was that’s worrying everyone.

Melone- Don’t ask him how, but he figured out Sorbet and Gelato had adopted a kid a while before everyone else did. Given his stand, it’s useful for him to be able to identify the signs of someone being a parent, and this came in handy here. Anyway, Melone knew it would inevitably come down to you staying over with them whenever Sorbet and Gelato needed you off their hands for a bit. He bought a few new toys, to add to the collection he uses for educating babyface, and spends his allotted time with you observing how you interact with them. Although his demeanour may seem detached and experimental during these times, he genuinely does enjoy watching you. It fills him with happiness to see how obviously happy you are in your new life with your dads.

Ghiaccio- He tries to avoid you at first, thinking that a child in the hideout can only ever go wrong. But then he realises you seem to think you’ve displeased him somehow, and deep down, Ghiaccio feels bad. You aren’t a bad kid, he supposes. You’re not annoyingly loud or stubborn, and you generally do as you’re told. You do cry sometimes, mostly when you miss your dads, but you always stop whenever Ghiaccio gets them on the phone for you. He’ll tolerate you. If anything, he wouldn’t mind doing this again if Sorbet and Gelato need them too.

#la squadra #risotto nero #sorbet and gelato #formaggio #illuso #pesci #prosciutto #melone #ghiaccio

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zalrb · 3 years

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I enjoyed Encanto a lot but I always see that there’s a common criticism about how it felt anticlimactic towards the end. Which I kind of understand. I think some people also thought it should have established and explored the family dynamics further, and the rules of the magic (like the fact that there’s no candle at the end anymore lol???), and that while the premise is interesting the execution could have been better. For me I loved it because I relate to it sooo much culturally and due to that it felt extra special to me for a Disney movie, but my only gripe was that it was too short. There should have been more in my opinion.

However I’m curious to see what your criticisms are!! :)

OK so disclaimer: it’s like 4 am, I’m on my way to bed so if certain things don’t make sense or it gets repetitive or I didn’t finish a thought it’s because I’m tired and I’ll get back to it when I wake up.

But it's funny, I've been seeing this gripe a lot "It was too short" or "It should be longer", I saw that for episodes of this season of Euphoria and I saw that consistently with Insecure and I don't think the problem is length, the problem is what's being done in the time allotted (which isn't much or it's too much that it's actually not much). Encanto is 17 minutes shy of being 2 hours, that's not a short movie. It's standard. I think the reason why you want more is because we didn't get much with what we had in that hour and 42 minutes.

Because the issue is that we didn't get to know the family members and their dynamics enough. So for me it stays at, well this was an interesting idea and not, holy shit what an amazing movie. Because, when Luisa sings her song about how she does the heavy lifting, she does everything she's told and she doesn't complain but inside she's a mess and she's worried that if she isn't constantly functional she's useless, I was like, but when do we see this?

There's that episode in SPN where we see things from Bobby's perspective and all he wants to do is sit down and eat a piece of pie but he can never do it because the phone keeps ringing and he has to keep answering because he has to do his job. I needed a scene like that with Luisa. I needed her to sit down and rest and then right when it looks like she can rest, she gets up and does more work because she feels guilty. Like

this was 30 minutes into the movie. When did we see this?

Same issue with Isa and her song and the stress of having to be perfect all the time and uniform all the time, we never see that until we get her song:

this was an hour and nine minutes into the movie and there was no inkling of this beforehand so this song is not going to mean anything to me.

Like even if it's from Mirabel's perspective, we could've had a scene where Isa creates a bouquet or whatever and she's scrutinizing it and everyone is telling how pretty it is and how perfect it is and she's like "oh no, I can do better" which Mirabel takes as humble bragging only for the song to reveal the pressure she's under to always be one way.

Like, with Hercules, we have the opening where the songs explain the plot and we see Hades' scheme and how Hercules gets to Earth and is raised by humans but then we also see him as a teenager destroying everything around him then he gets his song about not belonging and wanting something more.

The songs annoyed me because they're like the Euphoria voiceover where instead of spending time on building family dynamics, they just gave the different sisters songs. The songs should be propelling plot forward and giving insight.

Hakuna Mata matters because it's a song about forgetting responsibilities and all of your problems

and it's in the right part of the movie because we have already seen exactly why that philosophy would appeal to Simba who witnessed his father get murdered and who, because of his uncle, thinks it's his fault

and then there’s the transition to adulthood which indicates this is how Simba had been living his life

which then sets up his arc and when he runs into Nala and when he sees Mufasa in the clouds.

It's functional and it's emotional and it's placed properly. It's way too late for me to get Isa's song when I don't know anything about her, I feel like I'm just getting introduced to her rather than understanding her better.

And when Abuela yells about how Mirabela is ruining everything and then Mirabela yells back that none of them are ever good enough, I was like, besides Mirabela, sort of, we don't see this AT ALL. Like yeah Abuela says we give back to the miracle with our gifts, we serve the community, it's what we're proud to do but we don't see her interact with her family members for this pivotal blow up to be as emotional as it should be.

Her talking about the miracle all the time is supposed to be this pressure, it’s supposed to be her drilling into their heads that their worth is associated with what they can provide but again, that's not something I actually saw, this is something I extrapolated.

I hate to use this example because it’s Junot Diaz but The Brief Wondrous Life of Oscar Wao is about intergenerational trauma in its many, many forms and this kind of sentiment is what I was supposed to be seeing

“You don’t know the hold our mothers have on us, even the ones that are never around—especially the ones that are never around. What it's like to be the perfect Dominican daughter, which is just a nice way of saying a perfect Dominican slave.”

“ And that's when it hit with the force of a hurricane. The feeling. I stood straight up, the way my mother always wanted me to stand up. My abuela was sitting there, forlorn, trying to cobble together the right words and I could not move or breathe. I felt like I always did at the last seconds of a race, when I was sure that I was going to explode. She was about to say something and I was waiting for whatever she was going to tell me. I was waiting to begin.”

but we never did.

The best portrayal is actually with Bruno

and this

Like, I feel like there's a difference between resonating with something you see onscreen and relating to an idea. Instead of watching different relationships play out or seeing different behaviours, namely Abuela’s, and going, YES, THIS IS EXACTLY WHAT IT’S LIKE, YES SHE’S ACTING JUST LIKE MY GRANDMOTHER, it’s listening to explanations that you (the universal ‘you’) relate to without doing the work of actually portraying the themes, like just because it’s in song and just because it’s a Disney movie doesn’t mean that it’s not just an exposition dump with very pretty visuals and no narrative action.

I've mentioned a few times, the scene in Tangled where Rapunzel goes through the various emotions of leaving home against Mother Gothel's explicit rules where she goes from ecstatic to guilty and back again hit me in the chest HARD because it actually portrayed something I could relate to, it portrayed the relationship between her and Mother Gothel

so that when we get here, to the scene that got me

It makes absolute sense, it’s earned through what we saw. I resonated with it because I saw it play out and was like, holy shit that’s loud.

Encanto was a movie of what we should’ve seen.

At the end is when we see dynamics we should’ve seen at the beginning like Luisa and Isa standing by their doors and standing up straight when Abuela walked past.

And then when Mirabel is supposed to understand her grandmother’s trauma and therefore understand her grandmother more and see the entire situation from a different perspective and see what she had to go through and why she’s so tough on everyone --- which is absolutely a theme I could resonate with --- because we haven’t seen Abuela do this and be this way (the most we see is being distant with Mirabel and telling her to stay out of the way during Antonio’s ceremony) it wasn’t as cathartic as it should’ve been. It was more like an intellectual exercise.

And then the magic and the rules...

OK so the candle disappeared because it became magic and created Encanto due to Abuela’s pain over Pedro’s sacrifice so basically at the heart of the house and therefore of the family was Abuela’s pain, the new life was created due to her suffering and that created something beautiful but it was also supposed to be affecting everyone in the family i.e. intergenerational trauma but because everything happens at the end and very quickly and the rules of the magic in general were nonexistent --- the house was falling apart but still managed to help them?? --- Dolores can hear everything including rats so she can understand animals that’s not just Antonio? Only Mirabela’s mother who heals people through food (obvious metaphor, lmao) and Luisa seem to have gifts that help the people of Encanto, like how does shapeshifting help anyone? ---the significance of the candle was muddled and bungled.

All in all I thought it was a pretty movie visually and that’s it. I wanted to like it, I saw a lot of potential for what it could be but I was just underwhelmed and I mean initumseries warned me.

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denimbex1986 · 3 years

Link

(Sebastian’s interview plays from from 49.26)

“It was a wild time because I, I had made like three different audition tapes. I was shooting this tiny movie in Germany and I was making tapes, sending them from there - and, I made a tape for Steve, all, all for Steve, and, and they didn’t say no, they kept giving me notes so I was re-doing them, and then I didn’t hear anything for a while and I was gonna actually go to Romania, where I’m from, after Germany, and instead like, this is where I’m like, I don’t know if, you know, life could’ve gone a very different way had I gone, I don’t know, but instead I, I actually ended up coming back to LA, and then I heard that they were like; ‘Oh, you’re in LA?’ So then, so then I finally went in for like a fourth audition, you know in Sarah’s office, and I did the audition there with her, and then they called me to do a screen test and, which was for Steve, and - and I was like ‘a screen test?’ I had never even - I did one other screen test in my life which was for Star Trek, with JJ Abrams, and it was like - and I, and I obviously did not get that but, but it was like in a, you know it was like in an office with, with, a regular office. I mean this apparently was, we were actually gonna shoot like a scene - you shoot like a whole scene; you put on a costume and everything, you know - I put on this 1940′s like, whatever that suit that Chris has in the, in the movie, in the first Captain America movie, and I, you know you have hair and make-up done, like, it’s like a big tease but you still don’t have the job, you know, it’s crazy. And then you go in there and you’re like, “Oh my God” at the lighting and the camera, and, and I remember doing that, and it was me and like a bunch of other people and, and as soon as I got out of that, like four days later they were like, “You know, it’s not gonna go any further” - you always hear that; “It’s not going any further”, and then, so I was kinda like “Ah fuck after all that..” you know, I was really bummed. And then I got a call saying, “But maybe you shou - maybe we can talk about this character” and, and I never even knew anything about a James ‘Bucky’ Barnes ‘cos what I did like, even for the - I never knew anything about Captain America, I never knew anything about - you know, I never read the comics - so I, and I didn’t wanna read any of it before the audition anyway; there was no script, there was just this scene, and so I really didn’t know anything about Bucky Barnes.”

“Well, so we had that meeting right, like where they, they were like, telling me about James ‘Bucky’ Barnes; again; I don’t have a job. Like, I’m like listening going, ‘Are they - like, this sounds fantastic - but like what, are they just seeing if I’m interested?’ Well yeah, I am interested, like, I wanna be in a movie. But um, they were telling me about his story and they said yeah, and then you know, he becomes The Winter Soldier, he ends up sort of being captured, he falls off this train, he loses an arm, gets recaptured, they they brainwash him, they turn him into this assassin and he comes back, and you know, eventually you know, he comes back around, he gets his memories - like they, they told me the whole story but that was it, there was no more. And then we - and then we were shooting the first movie and, I fall off the train in the movie, and I realised when I went in for a costume fitting, they had given me a costume that was missing the left arm so I was like, ‘*Gasp* Okay that means that they’re - they’re gonna do it’”, you know like - and then, suddenly we were gonna shoot this scene and I had the costume that had both arms and I was like, “Err, why’s not the arm?” and they’re like, “Ah you know what? They just decided that they’ll see if anything - you know, they’d rather have both arms just in case and stuff”, and I was like, “Oh fuck, maybe they’re not gonna do it”, you know? So then I fell off the train in the movie and, the movie comes out, everything’s, you know, cool; 2011, I’m at the premiere of Captain America The First Avenger, and meanwhile like, I’m not, you know, I’m still like, really fighting for a job, like 2011 was one of the hardest years of my life. Like, you know, I was going to this premiere but I, Iike, it was - I needed a job, I was running out of money, like, it was like all this stuff was happening and, and then it wasn’t really until I wanna say like, whenever the San Diego Comic Con in San Diego happened, and a friend of mine called me and said; “Dude, they just - they just, uh, let out the new, uh, title for the sequel and it says ‘Captain America The Winter Soldier.’ in it.” And I was like “What?” That’s how I sort of found out and then a call happened and we were like, ‘Okay we’re gonna do this sequel’ - that’s how that sort of happened. I mean, I never knew.”

“Well, I mean I think, I think the only thing, uh what’s different is, is the level of experience, right like, I feel I’ve grown so much as a, obviously as a human, you know from experience, but also just as an actor, like how I’m approaching things now is on such an deeper, more specific level than I did ten years ago, you know? I mean, like I’d gone to school and I knew what I was doing and you know, but, but then I think you just learn yourself better, you know, you learn to access yourself in, in different ways, so I feel for me, the work is always deeper now. Like, so I, I guess that sort of changes approaching the character but also the character had - had evolved, you know, cos he’d sort of gone from - through that whole Winter Soldier journey, and then we kind of had him, you know, on these redemption paths like all through Captain America Civil War and into the Infinity War, Endgame stuff. But it was really for me like the, The Winter Soldier movie and the Civil War movie were, were probably the biggest character development moments that he had right? ‘Cos he didn’t really in the - in Endgame and Infinity War; he was there and, and it was still- it was still travelling towards something, and, and, really the show now - like, this show was the first time we kind of really dove into more things with him, deeply, um, and yeah, I just think, it’s just a life experience to kind of come back to a character, and in a way, you know you add to it. Like, I, I don’t know what filming - I mean it’s not like A Boy’s Life, right, that movie that Ethan Hawke did, but they came back through the years, and there was maturity there and a growth and I, I can’t help but think that to some extent, if I sat down and I watched Captain America First Avenger, and I watched all of the movies with that, this character’s in, including our show, I, I 100% would probably see a character that’s has grown because the actor that’s playing him has, you know?”

“Um, I think we all discussed that we wanted to find a way back for him towards a more stable place, or a better sense of self, you know? He’s gotta own everything he’s experienced; he’s gotta kind of like, The Winter Soldier persona per se is - it’s like a demon that’s a part of him that he’s somehow come to terms with and, and he’s learned how to turn it into a strength, rather than it you know, suddenly like he’s just gonna be cured of this thing because; they are comic book heroes but like, and some more than others, but they all have these emotional complexities to them and, and, and one of the things that I love, like I was lucky with this character, is that he really does have this sort of relatable arc, you know? Um, we’ve all kind of go through - we all have to like face our pasts, we, we’re all haunted by things that have happened to us; trauma, things that we’re trying to like overcome or, you know, people deal with addictions, people deal with - you know so, so there’s all these pieces to that character kind of as he’s like trying to find a better way of life, you know, and fit into the world better - and also give him, give him - give him a new life so to speak, uh, without you know, in, in the shadow of Steve Rogers, you know, and, and exploring how that character now can be in the world, you know, um, and properly function, even for audiences. I think for both of them that was - that was also, uh, another piece.”

“Well I just, but again, like for me like, I knew, I knew this character really well. Uh, like I feel like the preparation that before you start shooting is the most crucial time ever because and, as you know like with you what I’m currently doing, like, it’s just like, you can see, others can’t - yet. Um, it’s insane to try to become someone else or whatev - like, you’re always trying to find ways to relate, you’re always trying to understand; the whole thing is a big sort of study project. Uh, with this character, I mean I was very, yeah I was very protective you know, while we were shooting and there were things that we were trying out, that, that had been tried out on the page that weren’t working, you know, and things that needed to be reshaped you know with us now being kind of like getting into the dialogue - getting in, getting there on set, you know, dynamics, and, and it was great that we had, we were allotted the freedom, Anthony and I, to really take what was on the page and make it our own you know, and kind of bring our own experience from the movies to this, you know? And there were times when I was like, ‘Hey listen, like, he wouldn’t do that or he wouldn’t say that here. He would - he would do this - we haven’t earned this yet.’ You know? I think; I can’t speak for everybody, but you know, for me, I, I wanted to really explore a different side of him. Obviously one that was comedic with Anthony right, the dynamic of what that is, and it really, I started looking at it going like, ‘Oh my God, they’re like the - it’s, it’s the Odd Couple.’ That’s what it is. Like, Anthony’s you know, Walter Matthau and I’m Jack Lemmon, like that or it’s like the other way around. Like, that’s the bickering thing, that’s the comedy, you know and, and Bucky is a guy out of time who’s like an old guy trapped in this body trying to fucking figure out what the hell’s going on. And, and, uh, that’s the comedy - like that’s where; and that’s also where the truth is with him, you know? Um, but I was, I was like always reminding them being like ‘Guys, just remember he was a fucking assassin’, you know; he’s always have this chip on his shoulder you know, to some extent, and, you know - and also he’s really gonna - he is, at the beginning of the season, he’s coming from a very defensive place because his - his sort of big purpose up until that point right, like had been, ‘I know I’m not a perfect individual, right, but I know this guy, my best friend, the guy who’s been by my side since I fucking remember anything, Steve Rogers, is a good man, and I’m gonna do everything I can to try to make sure that guy’s okay, you know, and, and follow his lead’, and, and I know like that was like the, the moral compass; Steve Rogers was his moral compass right, and now you’ve taken that out, so he’s going, it kind of is a little bit like, ‘Well now what do I compare - what do I base myself off of? Like what do I, what’s my target, what’s my purpose, what’s my direction? What’s my sense of, where’s my GPS?’ You know like, it’s a little but like that and, and he’s in a very defensive place at the beginning because he’s - he hasn’t confronted the emotional implications of that yet, and throughout the season obviously he does, you know, but you see that he’s sort of like, instead of confronting, he’s kind of hunting certain questions and fears like further down the road and kind of trying to drive an agenda and, and for a minute, you know, before he actually takes a step back and go, and goes, ‘Wait a minute, what does Sam Wilson really want? Like, who, you know, who is Sam and, and therefore who am I?’ and like ‘What do we really want and what is it really about?’, you know, and so I guess those were all the things we were tackling.”

“I always thought there was a conversation that took place you know, before that scene, that, before the final scene of Avengers Endgame, where you see Steve Rogers much older and there’s a sort of right of passage you know that, that happens, that I - I always feel thought there was a conversation between him and Bucky before that happened, you know, and in that conversation, where it was like, ‘Bucky, you don’t have to worry anymore. I found my - my peace you know? I’m - I’m, I, I finally got that life I wanted, you know, I took, I’m - I’m taking one for me, you know, and I’m good. Now it’s your turn to go and take one for you, you know? We both served this thing, the shield, this ideal, whatever you wanna call it, like, we’ve done our time - like, let’s find our life like before like, while we still have it’ And, you know, I think Bucky kind of honoured that, and I think, and I think, essentially it was goodbye. It was like, ‘Okay buddy, like, you know, it was a good run, like let’s, good luck and, and let’s go and see what happens’ you know?’ And so I don’t think it’s - does Bucky know where Steve Rogers is? That’s a good question. Um, maybe, maybe not, you know? Uh, I mean I, I don’t even know if I have the answer to that question and I, and I definitely don’t. Yeah, so, so, so I, I treated the season very much like, ‘Alright, this is where it’s at, you know, and how good - I don’t have to, thank God I’m not, I’m not standing over a coffin, you know, I’m, I’m, I’m looking at my friend who’s smiling into the sunset and, and, and being like ‘Yo I had a great life, like, I’m good, you know, so now what is it about? You know what? It’s about the legacy he left behind, you know, I’ll protect that.’ But again, he’s not making it about - Bucky’s not making it about Bucky - he’s again making it about Steve, and of course as you see the season, Sam goes, ‘No, you gotta look at you. You gotta, you gotta make it about you. What do you want?’”

“That was before. And, and it was one of the - episode 5 was like really the first one we were, we were filming. I mean, we all - the whole thing was like a movie; we never broke up the episodes. Like, but that sequence in, at Sam’s house was all at the very beginning of the, of the show, you know, and, and it was crazy because we were shooting a really important scene very quickly, not having had, you know, a lot of the journey yet. That was literally probably day three, you know and, and I that think one of the things that was so wild is, obviously we were shooting the show and then, you know, we were supposed to be the first show out and stuff, and then the pandemic happened; all the tragic events of the pandemic, everything, you know, that was happening in this country, everything we were witnessing, all the way up until this January, you know what I mean? And we were going ‘My God’, like, how, how relevant our show sort of suddenly even became even more you know, because there was a lot of questions that were being asked even before anything had happened.”

“Well yeah, I mean Kevin and I; you know, I, I, yeah, I, I remember having a really good long chat with him before we started you know, just to, just to talk about Bucky and, and kind of like, you know, making sure we were on the same page and everything, and, and I love that. I love talking to him, I mean he’s, he’s like an encyclopedia. You know, I mean there’s just - there’s so much he knows about everything, um, so I, that was my main source, and then, and then Kari and I spent a lot of time talking.”

“Well yeah, I mean. Unless a role requires a certain kind of, whether it’s like gaining weight or losing weight or whatever - I usually, I, for my own, like, I just, the, the workout regimen has just always been part of my life and, and really started with Mar - like, with this character and Marvel ten years ago, you know what I mean, just, is when I really, really - I was trying so hard to get into such good shape around those movies that it just kind of - I mean, I, I don’t go as crazy def-con 5 about it as I do when we’re shooting something or when we’re preparing, but yeah, going back to it, of course. I always try to go back, get really - get into the gym, and, and into the diet specifically like three months before, and um, and it’s a whole process uh, and, but I’ve gotten a little bit more comfortable now, in my, sort of my strengths versus my weak points, you know. Uh, I think like in some - somewhere around the Civil War movie I was just, I was like, ‘I just want to be as massive as I can’ or something, like I was just really - and now I’m kind of more, ‘Okay, I, I know what works for me a little bit better and not’, but yeah, it’s always - especially because of the stunt stuff. And yeah, you know, I, like it’s a, it’s a - it’s a blessing really because, in a lot of ways, you know, I don’t have - Bucky doesn’t have any head covering, anything. Since we started, I’ve managed to do a lot of stunt stuff. Whenever there’s a physical sequence, like we, we always get passes at that, you know what I mean, and it really is on us like how much we wanna be involved or not and I always want to be as involved as possible and it’s been amazing. I mean I think what happens is - when you do it so many times, like I was so obsessed with it on the Civil War I would even go up to the Russos and even if like the camera wasn’t on me, I’d still wanna do it. You know what I’m saying? Like at one time I like pulled my back. Because you can’t - like, if you’re doing that sequence like 30 times, or whatever, like, even like, you’re exhausted, You’re, I don’t care, how, what - you know, maybe a super-trained athlete, whatever, like, they’re training for that fight, right, they’re training for that two hours like for months, but we’re going eight hours a day. Like, I think, even some of the stuff like it’s - I’ve always had a good amount of stuff that I was allowed to do, and that for me is super fun because he’s much more hand-to-hand combat. You know, he’s got his arm; like he can’t fly, he’s not throwing hammers and spiderwebs and stuff like, he’s just, it’s much more hand to hand and, and, and it’s because I wanna be in shape to be able to do that. So for the pandemic, I was running - a lot, and then what I did was, um, I had pull-up bar in my apartment and I was literally running up and down stairways and then I was doing 100 - I was doing 100, 200 push-ups a day, 100 pull-ups a day, 100 sit-ups, 100 squats, like I would just do that over and over again. And yeah, that was the only way.”

“Oh God, that scene is like - you know, those are the scenes that when you read a script you’re like, ‘Oh yes, this is gonna be amazing’, like you’re like, ‘oh I love that, that’s amazing, it’s gonna be like the moment’, and then it starts to be like this iceberg ahead, that you’re like slowly going closer and closer to it. It’s like, ‘Oh God that scene, oh God that scene’s coming up’ - and then you just have it marked on your calendar like, ‘two weeks until -.’ You know, and it’s just - and even up until that point, it’s just always - it’s a scary thing to always be thinking about because you know, you have to go to these places and you have to go there - and um, yeah, we did it, we did it a few times and, it was a good day.”

“Oh my God, absolutely. Absolutely. I mean, just like thinking about it now, with like the whole Chadwick thing is just so crazy. I’m like - with him I was always like really enamored, because I remember on that Civil War movie we met and, and um, you know, he had come in and, and he new and he - it was sort of like the introduction of his character and I was like, ‘Oh my God, this guy is gonna, he’s blow everyone away.’ You know what I mean? Like it was - there was such, like a commitment and dedication to everything he was doing; it was just so crazy, and we had a lot of these fight sequences and I remember being terrified of going in those scenes with him, um and, and, and we went for it - like we went - we really went for it. ‘Cos I was like, ‘Okay, he’s really showing up, I gotta, I gotta stand tall, I gotta show up’ you know, and then afterwards, we would just do these little fist bumps, you know like, ‘Cool, we’re good.’, you know, like, and then after we shot, you know I spent some time, a little bit, on the press tours and we would be laughing, and it was really cool, and I just, in my head, I would always hope that there was just gonna be more. And so, it’s just crazy to even wrap my mind around the idea of being in any world without him there, you know? I just can’t even imagine it really in my mind, you know, but obviously, I always felt like, I always - in my little scene, you know in my little scene at the end of Black Panther, I was always like ‘Aah, I’m part of the worl - I’m part of that movie.’ I always - I felt, I felt so good, you know, with that little scene and I, and I just loved working with Ryan Coogler, you know on that, he - it was so cool, ‘cos that was, he directed that scene and I remember being there that day, and, and so I kind of got to work with him a little bit, and, and I just, it was a really cool experience. Like, I really, really liked him as a director. And I loved Fruitvale Station; I loved all of his movies, um, I love Creed, I, I - so, so the idea of working with him again in some capacity is really cool and, and you can bet, I’ve, I’ve definitely raised my hand and I’ve said, ‘Hey man, whatever I can do, I’m in.’, but it’s just, it’s gonna be wild to tackle you know any - any of that going forward - I’ve no idea. I could just keep sending - I could, you know what, I should just send him an email once a week just ‘Wakanda.’ But it’s kind of cool, you know like, I love, I, I, again like, I felt really, like, grateful and proud that I was included even with that little scene, ‘cos sometimes, like you know, like I’ve, I’ve told this story before but I don’t know, I, I love telling it, you know, like I was on this airplane one time, and I was flying home, and, and I remember the stewardess came up to me and she gave me - she just handed me this tiny piece of paper and like walked away. And I was like ‘What?’ So, I was like, I don’t know, maybe it was a number, I’ve no idea what - you know, and, and I open it and it just said ‘Wakanda Forever.’ You know and then I like turn around to look down the aisle and she just goes (makes Wakanda symbol). And I was like, ‘Oh my God, okay’, like but it was - so I know, um, I, I love that, that people remember that Bucky’s a part of that in some way, so, you know hopefully, maybe there’ll be more.”

#Sebastian Stan #falcon and the winter soldier #captain america the first avenger #captain america the winter soldier #captain america civil war #Bucky Barnes #sam wilson #avengers infinity war #avengers: endgame #Wakanda

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cherienymphe · 5 years

Text

Unhappily Married (Steve Rogers x Reader)

WARNINGS: eventual NON-CON, dad!Steve, age gap (reader is a 20 something college student so that could range from undergraduate to graduate and Steve is late 30s), slight college!Peter x reader

summary: your dream job becomes a nightmare when your employers reveal their true colors.

“Oh, Y/N, you are a Godsend!”

You chuckled as you handed the stuffed dinosaur to her, Nathan’s cries immediately quieting. It was his favorite toy, and had you known she’d been looking for it for the past five minutes, you would have come downstairs sooner.

“I’m really not, Mrs. Rogers. He was playing with it earlier,” you said with a small smile.

The gorgeous blonde playfully narrowed her eyes at you as she adjusted the cherubic little boy on her hip.

“How many times have I told you to call me Sharon, Y/N?”

“Too many to count,” you admitted, grabbing your bag from the sofa as she walked you out of the house.

“One day you’ll listen, and I won’t have to remind you anymore,” she sighed.

She glanced around with a small frown.

“It looks like Peter is running a little late,” she noted.

“His psychology professor has a habit of talking past his allotted time,” you complained, rolling your eyes. “Normally he’s able to come up with some excuse to slip out, but I don’t think he got lucky today.”

“Oh, I hated that. I tell you, I do not miss college. Roommates, struggling for money, professors who took their jobs a little too seriously,” she shuddered. “How are your classes going? You’re still studying history, right?”

“Mm hmm. It’s going great, actually. I might have an opportunity to study abroad next semester,” you whispered, Mrs. Rogers being the first person you told the news too.

“Oh, how exciting! You’ll let us know if you get it, won’t you? We’ll have to throw a party. Steve,” she called, turning towards the garage.

There was a brief moment of silence before the equally beautiful blond exited the garage. The snug white tee he sported was stained with dirt and grime. He dusted his hands off before placing them on his hips, gazing at the both of you on the front porch.

“We might have to find a new sitter for Nathan next semester. Y/N might be studying abroad in a few months,” she excitedly told him.

His lips curved upwards into a smile, but it didn’t reach his eyes for some reason. You didn’t think anything of it. You noticed that things that often excited Mrs. Rogers rarely had the same affect on her husband. You didn’t know much about his job, but you got the impression that he was usually stressed about something or another despite how well he hid it.

“Is that so”

“She could be leaving us,” she replied with a pout. “…but it’s such a great opportunity. Everyone should get the chance to explore the world.”

“Sharon’s right,” Mr. Rogers said, approaching the both of you, blue eyes focused on you. “There’s no greater teacher than experience.”

You barked a laugh.

“You sound like Peter, Mr. Rogers.”

He heaved a sigh, throwing a playful smirk your way.

“When are you going to start calling me Steve, Y/N?”

“It’s useless, sweetheart. I’ve told her a million times to call me Sharon, and we keep having the same conversation. She’s making me feel like an old maid, and I haven’t even hit 40 yet,” she teased, sighing. “Peter’s really late it seems.”

“Yeah,” you agreed with a frown.

“I could take her home, Sharon,” her husband offered.

She hesitated, and so did you. Peter was probably already on his way, and the two of you lived together anyway. It would be inconvenient for them if Mr. Rogers drove you home.

“You might have to,” she murmured. “It’s getting late, and Nathan will have to be put to bed soon. I really don’t want to leave you out here, Y/N-.”

She cut herself off as headlights could be seen turning into the long driveway.

“That’s really nice of you guys, but looks like Peter finally made it,” you said with a chuckle, waving to them as you descended the steps.

“I’m so, so sorry I’m late,” were the first words Peter rushed out when you slid into the passenger seat.

He rolled down the window as soon as you shut the door.

“You’re lucky, Peter! Steve was just about to take Y/N home,” Mrs. Rogers yelled.

Peter chuckled, but something was off about it.

“Sorry for being so late. Mr. Harrington was in a weird mood, tonight,” he yelled back.

The two of you waved them goodbye as Peter turned the car around.

“So what did he do, tonight?”

Peter sighed, running a hand through his hair.

“A pop quiz…after the lecture,” he said with a shake of his head.

“You’re always surprised by his antics.”

“I know, I know, and I shouldn’t be. That’s the crazy part. This was so on brand for him,” he mumbled.

“Hey, it’s no big deal. Besides, if you can’t ever get me for whatever reason, at least we know Mr. Rogers will take me home,” you replied, reaching over to play with his hair.

He snorted, but otherwise didn’t respond to that, and you frowned.

“What? What was that about?”

He chuckled, a crooked grin on his lips as he shook his head.

“Nothing.”

You narrowed your eyes at him, not liking his tone. You turned in your seat to face him.

“What?”

“I bet Mr. Rogers would have no problem driving you home,” he teased, a smirk on his pink lips.

You stared at him, unamused.

“You’re so not funny, Peter-.”

“Oh, come on! He’s got a crush on you, you have to know that,” he interrupted.

“He’s married,” you cried in disbelief. “Besides, how could he ever have a crush on me? I dress like a hobo without makeup on around him. Plus, he hardly talks to me.”

“Probably to restrain himself,” he whispered.

Peter laughed when you hit his arm.

“I’m just kidding…sort of.”

“Peter!”

“I mean, who could blame him? You’re too adorable,” he said, reaching over to place his hand on your thigh. “…but you’re mine.”

You grabbed his hand, intertwining your fingers together as you glared at him.

“Mr. Rogers is a happily married man-.”

“…and you’re his adorable 20 something babysitter who’s great with his son.”

You eyed him, eyebrows furrowing a bit at the way he scoffed that out.

“Peter…you are joking…right?”

He suddenly sighed, stopping at a red light.

“Yeah…sort of. I don’t know,” he groaned. “It’s silly.”

“Hey…nothing is silly if it’s bothering you…”

“It just seems like he really likes you, and I know that he’s your employer and it’s probably nothing more than an employer being pleased with his employee, but he’s good looking and older and-.”

“And happily married,” you reminded him. “…and I’m happily with you.”

You leaned closer, nose brushing his cheek.

“Peter, there’s no need to be jealous of Steve,” you whispered.

“I’m not jealous,” he mumbled.

You chuckled, kissing his cheek before leaning back.

“You are, but its okay,” you said, turning the radio up.

“You’re serious?”

Peter’s eyes were wide and searching, and you nodded with a huge grin on your face.

“I wanted to wait until it was confirmed to tell you, and now it is. I’m going to Europe next semester for 4 months,” you repeated.

Peter laughed.

“That’s…amazing!”

He pulled you into a tight hug, burying his face in the crook of your neck as you wrapped your arms around him. The mall was loud, and hardly anyone paid any attention to your display. He pulled away from you to press a soft kiss to your lips just as his name was called.

“Oh, that’s our food,” you said, pushing him towards the counter.

He chuckled, rushing to get it just as you heard your own name being called.

“Y/N?”

You turned, eyes widening a bit as they connected with a familiar gaze.

“Mrs. Rogers, hi!”

She pulled you into a brief hug, pulling away with a small pout.

“Y/N, we’ve been through this a thousand times,” she complained.

“Sorry,” you sheepishly replied. “One day. One day, I promise.”

She waved you off, stepping back to get a good look at you.

“Wow! I almost didn’t recognize you,” she chuckled. “You look so different outside of work.”

You glanced down, brows furrowing just a bit as you took in your summer dress.

“I guess…yeah. Peter and I are just enjoying our free day,” you replied, pointing over your shoulder just as the brunette came up behind you.

“Hi, Mrs. Rogers!”

“Hello, Peter. Ugh, you two are so adorable. I was just saying hi to Y/N. I know we only go two days without seeing her a week, but it feels like forever,” she said.

“She’s exaggerating,” you told him.

“No, I mean it! She’s a Godsend. The house is so different without her around. Nathan misses you like crazy,” she confessed.

Her tone threw you off, and you didn’t exactly know how to respond to that.

“He’s right over there actually. Steve too! We’re here with some friends, would you like to come say hi?”

“We…could. We just got our food…”

“Yeah, we can tell them the great news too,” Peter threw in from behind you.

Sharon’s eyes widened in wonder, and you felt your face get hot as Peter rubbed your arms.

“What news?”

“I’m going to Europe next semester,” you slowly replied.

Her mouth parted, face lighting up as she laughed.

“So its…confirmed then? The opportunity went through?”

You nodded.

“Oh, this is wonderful news! Now, you have to come over,” she pushed, grabbing your arm and dragging you across the food court.

Peter followed, and you grew nervous as you approached the table full of strangers. You caught Mr. Rogers’ eye, and noticed the way they widened slightly at you. You looked away, smiling at the unfamiliar faces.

“Guys, this is our babysitter, Y/N, and her boyfriend, Peter.”

Everyone introduced themselves, and the two of you did the same.

“They were just telling me about some wonderful news,” Mrs. Rogers said, reaching over to pluck Nathan from his stroller.

“I’m just studying abroad next semester,” you said, downplaying it as you waved at Nathan.

The table broke out in cheers and congratulations. Your smile was shy, uncomfortable with all of the attention, and sensing it, Peter wrapped an arm around your waist. You caught Mr. Rogers’ eye again, having felt his gaze on you, and you swallowed at the unreadable expression on his face. You wondered if your discomfort was visible, because he suddenly smiled at you, a familiar sight that eased you.

“So where exactly are you studying?” a dark-haired man with facial hair asked.

If you remembered correctly, he introduced himself as Tony.

“Rome,” you answered.

He straightened in his seat, pointing a finger, and everyone else at the table groaned.

“You know, I’ve been to Rome and-.”

“Oh, Tony, give it a rest. She’s going there to enjoy herself, not to hop on the next money-making scheme,” a strawberry blonde woman interrupted.

She was his wife, you remembered.

He raised his hands in mock surrender, and Mrs. Rogers rolled her eyes.

“We’ve kept the two of you long enough. I’m glad we ran into you today.”

“Me too,” you honestly replied. “I’ll see you tomorrow.”

You and Peter waved them goodbye, your gaze lingering a bit as Mr. Rogers didn’t wave back, opting instead for raising his glass at you. You turned with a small frown, wondering if something seemed off about him today, or if it was just you.

The door flew open just as you raised your hand to knock. You took a step back in surprise but smiled nonetheless as your eyes met familiar dark ones. Your smile fell a little when Mrs. Rogers didn’t return it, and you hesitantly stepped inside when she eventually moved to the side.

“Nathan has been put down for his nap. I should be gone for the next five hours at the most,” she said, shutting the door.

“Oh, okay. I can just do some schoolwork then while I wait for him to wake up.”

That was strange. Nathan was normally up and at em whenever you came over. She didn’t reply as you set your bag down beside the couch, and you turned to face her. Her gaze was sharp, and you were growing a bit uncomfortable.

“Unless…there’s something else you want me to do? I can make some meal plans for-.”

“No,” she harshly cut you off, and you flinched. “That won’t be necessary. I can make food for my son just fine.”

You frowned slightly before swallowing.

“Um okay. Is there anything else you want me to do while you’re gone?”

She crossed her arms over her chest, glaring at you.

“No. Why do you ask? Is there anything you do for Steve while I’m gone?”

You blinked, rearing back a bit.

“I… I’m sorry?”

She huffed, snatching her purse from its place on the lavish couch, eyes venomous as she gazed at you.

“Mrs. Rogers… Is something wrong?”

“Are you sleeping with Steve?” she demanded.

Your eyes widened, comically so as her words hit you like a truck. Confusion and shock filled you. Had you heard her wrong?

“What?” you gasped.

She approached you, chest heaving.

“You heard me. Are you fucking my husband?”

The question came out slow but forceful, and you frantically shook your head.

“N-no! No! Of course not,” you yelled. “Why would you ask me that?”

She reached into her purse, yanking out a small scrap of fabric before shoving them in your face.

“No? Then what the hell is this?”

She dropped it in your hand, and if possible, your eyes widened even further as you realized it was…underwear. They were black and lacey and flimsy…and they weren’t yours. You swallowed, holding them up by two fingers, touching as little fabric as possible as you slowly looked up at her. If looks could kill, you would be six feet under.

Her face lost some of its tension at the sympathetic look on yours, and you sighed as you held them out to her.

“Mrs. Rogers, these… These aren’t mine,” you whispered.

She swallowed, reaching out with a shaky hand to take them back from you. She clenched them in her fist, lips trembling as she looked away.

“Mrs. Rogers…”

She stumbled back, falling to sit on the couch as she stared at the wall in front of her. The house was quiet, and you didn’t know what to say as she just…stared. You were coming to terms with what was happening, and you didn’t know how to feel.

Mr. Rogers was…the perfect husband. He absolutely doted on Sharon…like a queen. You often found yourself wondering if you and Peter would have what they had one day. It was silly, you knew that, but Sharon and Steve were the perfect couple. They were happily married, for Christ’s sake, so you were having the most difficult time coming to grips with the fact that he could do something like this.

And yet…

The evidence was right there for the both of you to see. After all, there were only so many explanations that could explain that. You took a step towards her.

“Sharon.”

She slowly looked up at you, eyes glistening with tears.

“I’m…I’m sorry,” and you meant it.

You were sorry.

She sniffed.

“No, um… I uh…I’m sorry,” she replied. “I should have known that you would never… You’ve never once given a hint that you would…”

“Mrs. Rogers, you have nothing to apologize for. I mean, if I was in your shoes, I would go straight to the babysitter too,” you chuckled.

She joined you, slowly standing as she wiped her face.

“No. There’s no excuse for coming to you in such a manner. I let my own insecurities cloud my judgement,” she began.

She stuffed the damning evidence back in her purse before looking at you.

“I see how he looks at you, sometimes, and my mind ran wild with it.”

You frowned in confusion, and she chuckled at that.

“Of course, you have no idea what I’m talking about. How lucky you and Peter are to be so wrapped up in each other,” she mused.

You were even more confused, but you brushed it off.

“Is there anything I can do?”

She heaved a tired sigh, and she suddenly looked as if she’d aged 5 years in the span of 5 minutes.

“Just what you’ve always done; your job. You do it so well and Nathan loves you and… I have a feeling that we’re going to need you around a lot more. Nathan will need some stability,” she honestly replied with a shrug.

You looked down and nodded. You watched as she left, mind whirling with what all of this meant.

You made your way into the kitchen with a sigh, wondering how Mr. Rogers could do such a thing. You weren’t stupid. Steve Rogers was an attractive man, almost criminally so, so you knew that he must have dozens of women throwing themselves at him on a regular basis. However, you saw the way he looked at his wife. You thought he was devoted to her in every way.

You looked down, playing with your fingers with a frown. As silly as it was, part of you felt…disappointed. You had thought that Mr. Rogers was better than that. This diminished him in your eyes, and you started to wonder if you ever knew him, at all.

“No, Peter. Neither one of them have come home yet. I can’t leave,” you worriedly said, peeking out of the window.

The rain was really coming down, now, and your anxiety grew.

“Y/N, a storm is coming in, tonight. If I don’t come get you, now, I don’t think I’ll be able to,” Peter said over the phone, frantic.

“I know, I know, and I wouldn’t ask you to. I’ll figure something out, but I can’t leave, and I’m not just going to take Nathan. One of them will be here soon.”

He heaved a sigh.

“Alright. I love you…”

“I love you too. I’ll see you tomorrow,” you said, hanging up the phone.

You had just turned away to go check on Nathan when you heard keys in the door. You sighed in relief, a greeting on your lips when you stopped short. Mr. Rogers stepped through the door, and you didn’t know what to say as he shut it behind him.

His blue eyes focused in on you, eyebrows furrowing a bit when you didn’t speak.

“What is it?” he softly asked.

He looked the same and sounded the same, but he wasn’t the same. To be perfectly honest, you were hoping that his wife would be back before him. You were…disgusted by him.

“Mrs. Rogers isn’t back yet.”

His frown deepened, reaching into his pocket to grab his cell phone.

“What do you mean she isn’t back yet?”

“When she left, she said she’d be gone for five hours at the max, but…that was eight hours ago.”

He brushed past you, pressing his phone to his ear. You went to grab Nathan just as he stirred, shushing him as you rocked him on your hip. You looked over your shoulder with wide eyes, heart skipping a beat at the harsh hushed whispers coming from the kitchen.

You wanted to get closer, but it was none of your business. You instead wondered on how you were going to get home. You heard him step back into the living room, and you looked up as he approached you. You let him take Nathan from your hands, jerking them back when his fingers lingered on yours.

“Well?”

“Sharon isn’t coming back, tonight,” he sighed.

“What? Why?”

“Who knows? She’s always loved the dramatics,” he threw out, ascending the stairs and gesturing for you to follow.

You frowned at him, not liking the way he spoke about her, but followed, nonetheless.

“There’s no way anyone can drive in that,” he said, facing you. “You’ll have to stay the night.”

You blanched on the inside, but you knew it was coming. Before, you wouldn’t have minded. However, after learning what you did about him, you didn’t like the idea of being stuck in a house with him all night. He wasn’t who you thought he was.

“Okay. I can put Nathan down before I-.”

“It’s fine, Y/N. I can put him down. I haven’t done so in a while,” he said, throwing you a small smile.

You forced one in return, walking towards the linen closet.

“Um…should I get someone of Mrs. Rogers’ or-?”

“I’ll leave something in the guest room for you to sleep in,” he said.

You nodded, looking over your shoulder as he brushed past you.

You gripped your towel to you, reaching out to grab the clothes left on the guest bed when the door opened. You yelped in surprise, eyes wide as Mr. Rogers stepped into the room. You took a step back, eyeing him in confusion.

“I just wanted to thank you for tonight.”

“Oh. It was no problem,” you quietly replied.

He shook his head as he stepped closer, and you tightened the towel around you.

“No. It was a problem. Sharon was supposed to come back, tonight and she didn’t. That was irresponsible and inconsiderate of her. You have a life just like she does, and she had an obligation to be here to be with her son,” he said, voice hard as he eyed you.

He had an obligation to be faithful to his wife, you found yourself thinking.

“Mr. Rogers, really, it’s fine. She’s upset, I understand-.”

“Upset,” he wondered.

You slammed your mouth shut as he crossed his arms over his chest with a soft scoff, running his eyes over you as he studied you. He tilted his head to the side.

“How do you know she’s upset?”

“What I meant was, she seemed kind of upset before she left,” you corrected yourself.

“Did she now?”

“I don’t know what about, but she just seemed really bothered by something. She left in a hurry,” you lied.

His gaze was unreadable as he took in your words, and you found yourself feeling uncomfortable at his close proximity and your state of undress. He eventually nodded, taking a step back. He turned and made his way to the door, laying his hand on it as he turned to look at you.

“Whatever she’s upset about isn’t an excuse to leave you here to take care of our son hours after you’re supposed to,” he angrily said.

You swallowed at his tone, fighting to hold his gaze.

“Thank you for being patient and waiting. You’ve been a blessing to us this past year, and I don’t know what we’d do without you.”

You nodded, eyeing the door when he closed it before eventually walking towards it. You pressed your ear against it, noting that a few moments had passed before you eventually heard him walking away. You turned the lock, dropping your towel as you eyed the clothes on the bed.

You frowned as you realized that none of these belonged to Mrs. Rogers. The shirt was entirely too big, and you knew for a fact that she didn’t wear boxers. You didn’t feel comfortable wearing her husband’s clothes to bed, but you didn’t have a choice. It was either that or sleep naked.

You pulled them on, anyway, wondering why he didn’t just give you something of his wife’s.

As the storm raged on outside of the window, you found yourself tossing and turning. The conversation you had earlier with Sharon was plaguing your thoughts. Even worse, Mr. Rogers’ strange behavior wasn’t helping things. Sleep was eluding you, and you found yourself wanting to call Peter, but he was probably asleep.

You considered going downstairs to get something to drink, and eventually decided on doing that. You threw the covers back, preparing to get out of bed when a noise stopped you. The floor outside of the guest room creaked, and you frowned.

You slowly got up, keeping quiet as you approached the door. You stared at it in confusion before your eyes widened at the jiggling doorknob. Your heart pounded in your chest as you realized someone was trying to come into the room. Although, there were only two people in the house able to open a door.

Mr. Rogers was trying to come into your room. You watched the knob twist and jiggle a couple more times before it eventually stopped. You heard him walk away, and you decided against that glass of water as you got back into bed.

tags: @darkficsyouneveraskedfor @kellyn1604 @mcudarklibrary @darkficreposter @villanellevi @xoxabs88xox @harringtonsblackgf @sebabestianstan101 @notyourtypicalrose @opheliadawnwalker3

#dark!steve rogers #Steve Rogers #steve rogers x reader #marvel #marvel fanfiction #dark!steve x reader #Dark Fic #dad!steve rogers #dad!steve

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bigskydreaming · 4 years

Text

Me constantly side-eyeing the preoccupation with Dick Grayson and money, how he pays for stuff, how much of it is Bruce’s, etc etc, when there’s like, comparatively zero examination of or even question about how and where Jason’s money comes from or Tim’s or Cassandra’s or like a ton of other superheroes, lol. Like, why is it only Dick’s financials that are constantly subject to scrutiny?

Facts that have been in play more than once in canon:

Dick likes to be self-sufficient when and where he can be.

Dick has at times had money from a trust fund from Bruce, and money from a wrongful death civil suit in regards to his parents’ deaths, that Lucius Fox invested on his behalf.

DIck has at times asked Bruce for additional funds, primarily for use for his friends or teams.

Dick has repeatedly and consistently worked dayjobs with a specific eye towards earning his own living wages, even when he doesn’t have to. Its particularly odd how often the subject of how does Dick pay for things comes up, even like just in regards to his apartment, when Dick’s consistently one of the only superheroes without a singular iconic job that’s a part of his narrative (like Clark and reporting, or Hal and being a pilot, or Barry and being a crime scenes/lab tech) who nevertheless consistently seeks out and holds down jobs for the express purposes of....having money to pay for things.

And thing is, none of these things are mutually exclusive, contradictory or hypocritical? Its only the hyper-fixation on one specific element of all this at a time that tends to present the illusion otherwise.

Some other things to keep in mind on the subject of Dick Grayson and money in fics:

1) If your fic takes place during or after or otherwise references Dick running Wayne Enterprises during the year Bruce was lost in time and believed dead by most of the family and cape community, are you taking into account that what Dick was doing there was the exact same kind of work that Bruce normally does? And that thus he would have been making quite a good deal of money? Have you considered that even a single year of this should be more than sufficient to last him for a good long while, given that he lives a comparatively modest lifestyle outside of his superhero endeavors? Are you subjecting Dick and his usages of money from this time to a greater scrutiny than you normally apply to Bruce and how he uses money he makes from Wayne Enterprises? Are you treating Dick as being less entitled to any money made here than Bruce normally is, just because Dick doesn’t have Wayne attached to his name even though at the time and in the continuity where this happened, Dick was 100% Bruce’s legal son and heir?

2) If your fic or headcanons are paying close examination to Dick’s various jobs and whether he’s living according to his means or occasionally dipping into “Bruce’s money” to supplement that, are you paying similar attention to Jason’s sources of income? If Jason’s money is coming from off-the-page criminal enterprises, is this something you’re leaning into because you’re of the stance that there’s nothing morally or ethically wrong with the specifics of what Jason is doing to make money here or have you simply relegated it to being immaterial and not even worth exploring, something there’s no need to even get into? If so, is there a reason you’re more willing to handwave away money gotten from means other than just an average dayjob, than you are money gotten from an actual, verifiable, on the page dayjob that simply doesn’t seem high-level enough to earn a significant income? Is there a reason the latter is presented as more worthy of scrutiny and critical awareness in your fic than the former?

3) If your fic is delving into what is and isn’t Bruce’s money, are you applying the same view of money earned vs money inherited to what Dick makes vs ‘gets from Bruce and/or his first parents’ insurance/wrongful death suit’....as you are to what Jason makes vs gets from Bruce or Tim makes vs gets from Bruce and/or his parents’ inheritance....or even what Bruce makes vs got from his own inheritance? Have you ever made the distinction that the money Bruce used to launch everything Batman in his early twenties wasn’t money that he quote and quote earned at WE which he wasn’t even working at yet, or had barely started at, but was, in a sense more ‘his parents’ money’ rather than his? Is there a reason Dick can’t access any money outside of what he makes at his dayjobs without there being an emphasis on it being “Bruce’s money” and is that same reasoning in effect when say, Tim accesses funds that are specifically from Bruce....is this similarly being singled out as Tim using “Bruce’s money” vs his own, or money from his first parents? (Keep in mind that Jack Drake wasn’t particularly wealthy at the time of his death and Tim didn’t actually inherit a lot of wealth pre-Reboot).

Point being, are you treating Tim or Jason or ANY of the other Batkids as being more implicitly entitled to Bruce’s money without it being singled out as being Bruce’s money, specifically, and if so, is that something to reflect on: why you view Dick and his relationship with Bruce and any funds stemming from him differently? If its simply because Dick does pride himself on being self-sufficient when he can, is this a source of hypocrisy when he can’t be for whatever reason, or say, is it no different from any child who tries to rely only on their own earned funds as an adult, but still can and does go to a parent for help when they need it?

4) Are you aware that the Titans, as a team, actually make money in various ways like merchandising, and that especially in the 80s this was a large focal point of how they funded things like their headquarters and vehicles....and that the Titans also were allotted funds for things like living expenses FROM these revenue streams? And that Dick was one of the handful of Titans specifically noted as being in charge of organizing and maintaining these revenue streams and the money resulting from them, and also was just as entitled to funds from them himself, same as the rest of his teammates who were able to survive on these without holding down dayjobs at times the majority of their focus was on being a Titan?

I say this one as most people AREN’T aware of this, but especially when compared and contrasted with how much less of a thing this is in later generations of super-teams, who handwave the subject of money, it is noteworthy IMO that Dick and his generation of Titans were one of the few times this was made an actual focal topic. With again, Dick showing a lot of initiative in making the Titans as self-sufficient without specific outside backers as possible. (But also, when they did have outside backers this included a variety of people who were NOT just Bruce Wayne).

Point being, though Dick did ask Bruce for help in purchasing things that were Titans related, the Teen Titans were never a case of “Dick relies on his dad to fund his superhero club and clubhouse”....and even if it WERE, consider this: what makes this any different than the fact that Bruce funds a lot of the Justice League himself - and by himself, remember I mean not just money he earned himself working at WE but the millions and even billions that weren’t earned but rather accumulated via inheritance? Is it simply because Bruce isn’t on this team himself, and if so, is this same scrutiny or contextual framing being given to other generations of the team like Tim’s, or other teams Bruce backs without being a personal member, like the iterations of the Outsiders he’s not directly involved with other than as a benefactor?

In conclusion:

If you notice yourself focusing more on Dick’s money and what is or isn’t ‘his’ money than you do any other character, its worth trying to delve into WHY.....because when there are discrepancies in how and where and why one character is singled out or scrutinized on a subject more intensely than others, those are going to show up in other peoples’ awareness whether or not you decide to apply your own awareness to determining why those discrepancies exist in the first place.

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conspirwbytheorist-inactive · 4 years

Note

I am curious about what characters arcs you think are being sacrificed too much? Like I don't want to criticize or anything just genuinely curious about your thoughts

That’s really fair. Sorry for taking so long to respond. Combo of things with last ep triggered some emotional stuff for me so I needed to step back and process for a bit. Like. I might get more in depth on this later, but my issue is less “specific arcs are being sacrificed” and more that even though the team is still hitting all of the general beats and points that I’d expect them to hit, they haven’t really had the time to provide the context or fallout necessary for the emotional impact of those beats to fully land?

Like. It’s not a sign of bad writing, more a symptom of focusing on ensuring a very full plot happens within the limited space they have. But it can be frustrating for those of us who were drawn to RWBY for its characters rather than its plot. More in depth take below the cut, but I think that more or less captures the gist of it.

Because of how busy the plot has been, it feels like the writers have put its needs before the needs of the characters. And, as a result, we’ve had a lot of things that normally would have been explored in an entire scene or even over the course of multiple episodes get boiled down to a single line or plot beats happening where the characters’ actions don’t quite feel in synch with what we’ve seen from them before. Like I said, it’s not malicious or a sign of bad writing. I suspect it’s a symptom of having so much in the plot that feels it needs to be worked through in such a limited time that there really isn’t room to explore these things.

And, as a result, we get a lot of “controversial” things that can be boiled down to “the narrative did not have time to give us much character perspective and, as a result, the beat’s payoff was not as clear or impactful as it appears the team was intending it to be.”

So, like, I guess as a light example, a lot of people talking about Ren’s semblance change happening really quickly. It makes sense for his semblance to evolve this way. It makes sense that someone with such an intuitive connection to emotions that he can suppress them in others would eventually be able to use that connection to consciously see them. But it just kind of. . . happened? We got the impetus. Him being called out on pushing people away, going into the tundra to think on it. But what did he think about? What clicked for him with the Ace Ops that hadn’t before? What does he think of his new ability? How does he feel about it? What does this mean for Ren as a character?

There wasn’t really time to explore all of that and, as a result, even though it is a good beat that makes sense, it was hard to feel the deeper significance of what this meant for Ren on a personal level. Because what mattered was less what it means for Ren and more “in order for ‘x’ to happen in the plot, we need ‘y’ to happen first”. ‘X’ in this case being “Team JYR finds Oscar in the Whale” and ‘Y’ being “Ren can now sense and track people’s auras/emotions”. In order to make the plot they wanted happen in the allotted time, they could not afford to linger on the impact this had on the character.

Which, from the writers’ perspective isn’t a huge deal. Unlike us, they know where the plot is going, they know what these things mean for the characters, how it’s going to impact them. When someone is creating a work (be it creative or informative) it can be really easy to get so wrapped up in your project that you forget that your audience doesn’t have access to the same information you do. What seems like a small cut or necessary sacrifice or something that can be moved til later on the writers’ end could be very confusing/detrimental to understanding on the audience’s end. It’s not “bad writing”, it’s just a very human thing to do when running a giant production with limited time and tight deadlines and a very ambitious set of goals.

I hope that there is a payoff. Like I said, I think the writers know where they’re going with this. They say V9 has been planned from the start. I hope that this rush has been to ensure that it is as impactful as possible and that we can sit with our characters again. But in the meantime, as someone who is very character focused in how I enjoy media, it has made for a frustrating viewing experience where, even though we have still gotten some good character eps (Cinder’s backstory, “Dark” and “Risk”) the characters largely feel more “along for the ride” than driving the story themselves.

And the last episode stung a lot not because it was inherently bad, but because I was hoping they’d wrapped up the Ironwood/vault/Penny plot lines so quickly to give themselves room to breathe in order to focus on character stakes. Not introduce/reintroduce 3 more high-stakes subplots to also wrap up with only one episode to go. It’s. . .hard to be pumped when they’re gonna have to lightning round for this finale to come remotely close to wrapping things up.

If that makes sense? Nothing wrong if you’ve enjoyed the pacing or don’t feel there’s an issue, just an explanation of where my perspective’s coming from. :)

#ask #anon #it's a conspirwby!#rwby spoilers #I'm really drained atm bc of personal stuff #but this was a very fair question and one I wanted to answer honestly #to be up front on where my concerns are at right now #you know?#rwde #I guess?#I still don't know what the point of that tag is #tagging just in case this falls into that category?#rwby vol 8 spoilers

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jubilantwriter · 4 years

Text

It��s Free Real Estate

AO3

Summary: Every entity needs a host, and each chooses their hosts with different means. For the Transmission, it goes about the route of using and reusing the same host as much as possible. How it gets its host is another thing - luring them over tends to work, but only if it can manage to snag onto their deepest desires.

If only it knew the proper wording to use lure its prey over.

Perhaps it should reconsider the fact that children of this era don't know what "real estate" actually means.

Word Count: 2035

////

There’s something the Transmission and the Maw had in common - they both needed hosts to keep them running. Their forms had to be enticing, promising a homestead to house their hosts until the end of their allotted time. Granted, the Maw was much better at preparing itself for its incoming host - it actually provided rooms, kitchens, space to thrive and grow in order to have their host fully accept them.

The Transmission was… less adequate at providing. It focused more on luring and trapping their host, like a rat drawn to a suspended bit of cheese only to find - surprise! They were stuck in a perpetual spinning wheel that they must keep running. And run they shall, until the end of their allotted time. The Maw found this method particularly wasteful, but the Transmission didn’t care. It made itself into the shape of a tower to broadcast its power over the city, as opposed to the oddly shaped ship the Maw found itself as. While the Maw allowed its host to be drawn in with the promise of comfort and sanctuary and power, the Transmission offered nothing more than a forceful grab of attention that wouldn’t end until its needs were met.

Still. They both needed to toss their lures into the proverbial waters, so to speak (though less so for the Maw).

The Maw tosses out flyers, posters bragging of the comforts it has to offer. Food - endless food! Food just for you, just come here! This offer is meant for you, just for you! Silent as it is, the words catch and grab at the attention of certain passersby, and it catches either prey or host. Mostly prey, of course, but nothing goes to waste in the Maw.

The Transmission is… less subtle.

“Psst, hey.” Its broadcast rings loud and clear, and the boy with the paper bag flinches at the sound. “C’mere, we’ve got a message for you. Aren’t you tired of running? Don’t you want a place to rest your little feet on something comfortable?”

The boy groans, his hands covering his ears as he hunches over in pain. “Leave me alone…”

A small girl follows after the boy, also hunched in pain, but noticeably less so than the boy. No matter, the message wasn’t meant for the girl. The Transmission makes itself louder as it forces the boy closer.

“A home! Finally, someplace that truly welcomes you. It’s got so many rooms to explore, of course. No rugs or furniture, unfortunately, but! It’s perfect for a growing boy like yourself. No other deals come like this to anyone else - it’s even, dare we say, free!”

“What does that even mean,” the child mumbles, but he’s trudging closer to the screen and- yes, yes! He’s touching it now, tuning its transmission as if to quiet the loud message it blares. It allows him to twist and turn the broadcast, the enticing hallway straightening enough to make use of the boy’s powers and soon enough, he phases through the screen and lands in the hallway. But of course, the current occupant is being a little troublemaker and making it difficult for the child to progress forward. He moves at a frustratingly slow pace as the current host manipulates the space around him to keep him from reaching the door.

And just before the boy even makes it to the door, that girl yanks him out of the screen and the broadcast comes to an abrupt end. No matter. The Transmission’s walls tremble in frustration, but no matter. There are plenty of televisions it can manipulate. Its current host lets out a dry chuckle at the Transmission’s failure. How annoying. This was why the Transmission needed to replace him with the younger host.

This old one was starting to get on its nerves.

////

It can sense when the boy is close to an idle screen. Pretty simple, really - his power is strong, brimming under the surface as he tries desperately to keep it under control and hidden away. But it won’t let that happen, no no. The Transmission needs his powers - a source of energy, a tool it can control, a middleman it can exploit to strengthen and manipulate its broadcast to each and every Viewer - and the boy just didn’t seem to understand the potential he held.

The television switches on as it blasts its broadcast straight at the boy, making him hunch over in pain as the sound of an untuned transmission audibly pains the boy as it shouts its message loud and clear.

“A free home! We’re practically giving it to you! You can customize it, optimize it to your own personal tastes! Look, you got the key right there to open up the door to your new home!”

The boy looks down to where he normally stashes his keys, but there’s nothing there. Instead, the television procures a static-like key that slowly twists and turns on the screen for the boy to reach in and grab.

“No adults, no monsters, no nightmares - just a nice, free home for you to stay in! There’s even a space in the back for a friend to stay!”

The boy perks up at this, eyes trailing over to the girl as she once again hesitantly follows the boy towards the television. She’s wary of the Transmission, of how the boy approaches the television. No matter; it almost has the boy in its grips. He leans forward and presses a hand against the screen and tunes the Transmission. It lets him do as he pleases, the key disappearing to allow the hallway to reappear.

The child tunes and tunes and tunes, this time taking a little longer than usual. A bit of irritation trickles through the Transmission. Of course - that old battery it owns is meddling again. That won’t do.

It’s only a little bit of meddling, after all. The hallway straightens with a little nudge from the Transmission, and the child falls into the space with little fanfare. Again, it tugs at his being, tickling his curiosity as he tries to run towards that door that hides the older tool. But the child runs slowly, as if he’s stuck in a dream as he struggles to make any headway in the hallway. The meddling old man continues to stall, warping the space around the child to slow him down. And just like last time, the little girl manages to pull its prize out of the screen once more.

It howls in rage as it is foiled once more. The man laughs from where he sits, sneering as the once stone walls turn to flesh, and the Flesh Walls begin to converge on him for his punishment.

Allowing him to keep his free will was such a foolish idea, after all. Of all the iterations it had to deal with, this one was the most stubborn. He remains stockstill as the walls press against him, head held high as he stares up at the ceiling.

“Even after all this time, we still make a good team, huh, Six?”

The man doesn’t get a response. No matter. It’s not as if anyone would answer with his old name. That belongs to his younger counterpart. The walls smother him, stifling his breathing as the Transmission goes back to searching for the young one.

This is what it gets for allowing him so much freedom. It’ll learn from its mistakes to ensure the younger one won’t get so willful and cocky. But for now, it must find him again.

////

It tries a different method. It tries the boy’s name this time.

“Mono!” The boy flinches at the use of his name, the girl close behind him. She tugs at his hand, seeing the bright screen light up the dark room as he begins to curl over in pain. “It’s a free home - yours to claim and make your own! Fully intact with no signs of damage AND no adults around to wreak havoc! It’s already ready for you - you just need to come and claim it!”

“Shut up…” He tries to cover his ears, but it’s useless to do so. There’s only one way to end the message, after all. He shuffles towards the screen with a hand reaching out as if to stop the broadcast. The waves mingle with the boy’s power, amplifying the white noise into legible words that only the boy can hear. After all, the message is meant solely for the little Mono.

“It’s a free home! With your name - Mono, yes that’s right! - on the deed!”

“What’s a deed...”

“It’s for your home! To show that you own it for good! And it’s free for the taking- your taking! Mono, you don’t need to search anymore when we’ve done the searching for you! Free. Housing. It makes us tremble with excitement! Could it get any better than this?”

“Shut up!” By now, the boy presses his palm against the screen and begins to tune the transmission. It nearly trills with excitement as it blares its message once more for him.

“It’s free real estate!”

“I don’t even know what that means!” He yells with frustration as the image straightens out. Luckily, the old battery can no longer interfere. The older man is fitted with his hat now, the outfit complete as he stares blankly ahead. It even took it upon itself to tune the old tool just right - his anger was amplified, need for revenge finely tuned to take priority over everything else, and a single memory is looped on repeat for him to focus on. No interference from him now.

The child breaks through the screen easily and runs towards the door unhindered. He reaches the doorknob and yanks the door open with a quick leap and heave and-

Ah, yes. The old tool is removed, moving forward of his own accord as the child screams and runs away. But there’s nothing any of those creatures can do now. The events are set in motion, as it always has been.

It’s only a matter of time.

The Signal Tower is empty once more as the hunt begins.

It’s only a matter of time.

////

Maybe he should’ve expected this. Maybe he should’ve known that the voices from the Transmission weren’t lying to him as he sits on this lone chair, a room so empty that it reminds him of the aching void in his chest.

Maybe he should’ve known that he was doing exactly what the Signal Tower wanted him to do by tuning the Transmission like he did. At least now, he has access to all sorts of shows to ease his unfortunate boredom. All these shows meant that he knew what all sorts of big words meant.

A term he finally understood was “real estate”. It meant something like… land that someone owns with one or more buildings. He thinks.

But it makes sense now, doesn’t it? When the Transmission kept trying to tell him that it was giving him a new, free home. Apparently, adults used to have to spend “money” to “buy” new homes. The concept escapes him - he doesn’t actually know what a home is. But according to the shows he watches, it means a place that wants him. A place where he can stay safe and sleep in.

A new, free home. He looks around the room he’s trapped in, stuck in the Signal Tower as it continues to control everything in the Pale City and the residents that live within the city.

Land with buildings.

The Transmission keeps him here, where it wants him. Where he can stay safe and sleep in.

A home.

He curls up on his single chair, the only thing that had kept him safe from the fleshy floors until there was no more flesh, and cries silently to himself. Maybe Six knew what was waiting for him and dropped him here so that he could stay safe? Because this was a place that wanted him?

Maybe that was it.

Maybe this was supposed to be a good thing.

(He didn’t like it one bit.)

New understanding has him burying his face against his knees.

“It’s free real estate,” he whispers.

#little nightmares 2 #ln mono #ln thin man #ln the transmission #ln six #she's kinda just mentioned tho #i posted this to the WRONG BLOG #and woAH im writing for a new fandom??#don't worry guys i'll still write camp camp #i just need these out of my system #anyway my original thought process was like #hey what if the transmission was like blasting IT'S FREE REAL ESTATE #but mono hates it #sorry its not as funny as i wanted it to be but boy did i try #crackfic sorta #don't take it seriously please

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santmat · 3 years

Text

Light and Sound on the Path: May You Always Find Genuineness in What's Presented Here As We Explore A Spiritual Path Called Sant Mat

Plain text version below. For the HTML version with photos, go to: https://santmatradhasoami.blogspot.com/2021/04/light-and-sound-on-path-may-you-always.html

This Light

Astonishing, this light, so different --

even with eyes closed you see it.

It was never lit, nor does it ever go out

-- the luminous soul makes it shine eternally.

No colour yet all colours,

this light is illumined by life itself.

Nila says, Today God in his grace

used my offering of the lamp of devotion

simply as an excuse

to let me experience this light.

-- Niloba of Maharashtra

Huzur Maharaj Rai Saligram Bahadur: "If someone's mind is inordinately attracted towards some particular worldly affairs, or towards some particular person, or entertains strong feelings of enmity or grudge against anyone, then also he will have little love in the Holy Feet of the Supreme Being, and for this reason, his mind will not apply itself to devotional practices, and he will find little pleasure in them. To sum up, therefore, a true satsangi should as far as possible, detach himself [or herself] from worldly affairs every day, and should increase his love and attachment in the Feet of the Supreme Being. The extent to which his mind gets relieved of worldly attachments, is love in the Feet of the Supreme Being will increase and the bliss of Bhajan and Dhyan [meditation including inner Sound Meditation] will also be felt in a greater degree, and he will experience internally greater Daya [Grace]."

Sant Dariya Sahib of Bihar: "The Lord thoughtfully spoke this word to Dariya: 'Boundless indeed is My Naam. Let one hold fast to Naam with one-pointed attention -- Kal [lord of time and illusion, the negative power] can never go near such a person. Let one merge one's attention into Naam while standing or sitting, and let one direct one's love to the Divine inner sight. If one bears the Satguru's imprint, his authentic passport and his spiritual coin for transaction, one will certainly go across the ocean of the world (samsara). Such a one discards the deception of gods and goddesses and, being engaged in the true practice [surat shabd yoga], is steeped in the Lord's love [bhakti]. Giving up delusion, he endearingly holds fast to the Beloved, nurturing the true love obtained from the Satguru. While standing or sitting he thinks of the Lord and remains absorbed in the Sound Current. He takes shelter under the Truth and thus brings Kal to defeat.'" (Book of Gyan Deepak)

Beyond the Material Five Senses are Subtle Spiritual Senses: Spiritual Seeing, Spiritual Hearing, etc...: "Since the exterior senses, by hearing, by sight, by the sense of smell and of touch, are not able to search out the innermost mysteries of the natures, on this account God conceals within the inner members a nature having senses more subtle than all the bodies. Now because of the subtleness of its stirrings, this nature searches out the hidden wisdom of the things created by the Lord of all." (John the Solitary, "John the Solitary On the Soul", Syriac mystic -- I have a great fondness for the depth of the Syriac mystics)

"Within This Body" --

Mystic Poem of Sant Tulsi Sahib

Within this body

breathes the secret essence.

Within this body

beats the heart of the Vedas.

Within this body

shines the entire Universe,

so the saints say.

Hermits, ascetics, celibates

- all are lost

seeking Him

in endless guises.

Seers and sages perfectly parrot

the scriptures and holy books,

blinded by knowledge.

Their pilgrimage,

and fasting,

and striving

but delude

Despite their perfect practice,

they discover no destination.

Only the saints

who know the body's heart

have attained the Ultimate, O Tulsi.

Realize this, and you've found your freedom

(while teachers trapped in tradition

know only the mirage

in the mirror).

Inner Sound Meditation Leading to Anami Oneness: "The ascension of the soul in the reverse direction of flow of streams of sounds can thus be compared to the swimming of fishes. Hence the Yoga of Sound has also been referred to as "mina marg" (mina meaning fish and marg meaning path). Thus, climbing further and further, leaving all the five spheres behind one after another, the soul finally transcends even the domain of the Quintessential Unstruck Sound and merges into the 'Anami' (Nameless/Soundless) or 'Kaivalyatita' (beyond Kaivalya or the Conscious) State to be one with [merge with] the Supreme Godhead, to be God Himself. Thus yoga or union or bhakti (devotion) gets completed."

-- Swami Achyutanand Baba, The Yoga of Inner Light and Sound

Excerpts from a Satsang Discourse by Baba Somanath Commenting on Verses of Soamiji Maharaj (from Sar Bachan, Bachan 19, Shabd 13)

Soamiji Maharaj: "The Guru says all the world is blind. No one grasps the secret of the inner way."

Baba Somanath: "This is the bani [hymn] of Param Sant Satguru Hazur Swami Ji. He says that all the world is blind. Why? In the beginning, the Almighty Lord put the Path to meet Him within us and then He sent us into this world. And if that inner eye opens, then we will reunite with the Lord. But through millions of yugas [vast epochs of time] and incarnations, we have been running outward. Lord Kal [the negative power] has placed the curtain of mind and Maya [illusion] over the soul and has cast it into the outer world. And becoming extroverted, the soul is always hurrying forward, never looking back to realize the True Home that it left so long ago."

Soamiji Maharaj: "Everyone is wandering outside aimlessly. No one catches hold of the Shabd [Sound] within."

Baba Somanath: "It is just like the water and the waves. Our entire lifespan is consumed counting the waves. Millions of yugas have passed in this way. But what is the nature of a wave? It is composed of water. But if we are under the illusion that the wave is something substantial in itself, if we forget the wave is only water, if we think of the wave as something separate from the water, then we do not understand its real nature.

"In the same way, all the jivas [souls], becoming infatuated with the pleasures created by mind and Maya, rush about in the external world and waste their allotted span of life. Under this illusion, the jiva says, 'Who is equal to me? What shortcoming is there in me?' We may think this, we may think that, but when the breaths finish what remains? Only a heap of earth, nothing more. We have become so identified with this heap of earth that we think it is our true self. And in our ignorance, we assert: 'Who can compare with me?'"

Soamiji Maharaj: "The Guru proclaims ceaselessly: 'Search for the Shabd within.'"

Baba Somanath: "The Satguru constantly tries to make us understand. What does He tell us? 'Brother, take your mind away from the disturbance of this world, from 'I and mine,' from enjoying the sense pleasures, and fix it within at the point between the two eyes [third eye]. When the mind becomes concentrated, that Inner Power will call you of itself. That Power is the Sound Current, the Word, the Akash-bani (Etheric Sound). Concentrate your attention on that Sound Current -- do not look this way and that."

Soamiji Maharaj: "Only some rare worthy one stands firm on the support of the Master's words."

Baba Somanath: "As soon as the rare, worthy disciples hear the Guru's words, they take them to their hearts. The instant they hear those words they act upon them. But the unworthy disciples take the Guru's words as ordinary and carelessly discard them.

"Who are the worthy disciples of the highest order? 'They meet with the True Guru if emancipation is written in their destiny.' Whoever has once attained the inner darshan [vision] of the perfect Satguru, whoever has learned the inner secret, their work is accomplished. This is the highest grade of worthy disciple. Such a disciple is like the pearl oyster who swims to the surface of the water and opens its mouth to receive the raindrops that fall during the swati nakshatra. As soon as it catches that swati raindrop, it closes its mouth, and from that drop, it creates the priceless divine pearl in its within.

"So, Swami Ji Maharaj says that as soon as those rare worthy disciples hear the Guru's words, they mold their lives according to His instructions. They act on His words and do not allow their minds to wander here and there. They never listen to the advice of the mind."

Soamiji Maharaj: "Everything of the world appears flawed and false. Only the devotion to the Guru is True."

Baba Somanath: "Those souls who remain absorbed in the Naam day and night regard the world as a debased place. They understand the bonds that keep us shackled, and they see clearly the nets that Kal has spread. Now our love and affection for this outer world is so strong that we cannot leave it, so how can our love become attached to the Lord? Love is only way. Either you can attach it to the Naam, or you can attach it to the world.

Soamiji Maharaj: "Going into the shelter of Radhaswami [Lord of the Soul], the jiva swims across the ocean of existence."

Baba Somanath: "Whoever does the practice of Surat and Shabd* will cross over the ocean of existence."

* Surat Shabd Yoga Meditation

Vegetarian Saying of Jesus: "Now beware in yourselves that your hearts do not become heavy with the eating of flesh and with the intoxication of wine and with the anxiety of the world, and that day come up upon you suddenly; for as a snare it will come upon all them that dwell on the surface of the earth." (Jesus, Syriac-Aramaic Luke 21:34, edited out of the Greek manuscripts but remaining in: Evangelion Da-Mepharreshe, The Curetonian Version of the Four Gospels, With Readings of the Sinai Palimpset and the Early Syriac Patristic Evidence, Volume One)

PODCAST: Why Vegetarianism Was Edited Out Of Early Christianity: Today we explore: Why Vegetarianism and Veganism? Thy Will Be Done; Thou Shalt Not Kill; Vegetarian Verses of Namdev; Poem of Darshan Singh; Sayings of Pythagoras; Vegetarian Sayings of Jesus; The Vegetarianism Adopted by the Apostles; The Acts of Philip; Saint Paul; Gospel of Thomas; the Vegetarianism Edited Out of the Unity School of Christianity Statement of Faith; A Glimpse Into the Mainstreaming, Succumbing, the Accommodation Process: As the Ranks Swell With New Converts Bringing Their Meat Diets With Them, the Vegetarian Teachings Eventually Get Edited Out -- Spiritual Awakening Radio PODCAST

@ Youtube:

https://youtu.be/BUPhrRurvgw

@ the Podcast Website: https://SpiritualAwakeningRadio.libsyn.com/website

@ SpiritualAwakeningRadio.com http://www.SpiritualAwakeningRadio.com

@ Apple: https://podcasts.apple.com/us/podcast/spiritual-awakening-radio/id1477577384

@ Spotify: https://open.spotify.com/show/5kqOaSDrj630h5ou65JSjE

@ Audible (Amazon):

https://www.amazon.com/Spiritual-Awakening-Radio/dp/B08K561DZJ

@ Google Podcasts: https://podcasts.google.com/feed/aHR0cHM6Ly9zcGlyaXR1YWxhd2FrZW5pbmdyYWRpby5saWJzeW4uY29tL3Jzcw

... Or wherever you get your podcasts from (Gaana, Stitcher, Podbean, Radio Public, CastBox, Pandora, TuneIN, etc...).

All for the Love of Wisdom and Radio, Peace Be To You,

James

Spiritual Awakening Radio

Sant Mat Satsang Podcasts

Sant Mat Fellowship

#spiritual awakening radio #sant mat satsang podcasts #james bean #sant mat #satsang #blog #newsletter #santmat #radhasoami #surat shabd yoga #path of the masters #vegan #vegetarianism #christianity #syriac #podcasts #spiritual podcasts #religion

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