There is such a thing as “too much agenda” in films/tv shows and I really think Hollywood is starting to find out the hard way that taking a sledgehammer to people’s skulls to impart “the message” is doing more harm than good. A message or an agenda is all well and good, but they should be woven into the story, not the entirety of the story. Just rent a billboard if you’re going to do that.

To 9-1-1: Just Take One REAL Step Toward Buddie. See What Happens.

Hello fellow 9-1-1 buddie fans! I've been mulling over season 7 and a topic close to our hearts: the possibility of buddie sailing into full-on canon territory. We've heard people say the show can't give us buddie, using the unfortunate reason that it's because the larger general audience doesn't "see" buddie as a thing. That while the buddie fandom is huge, it doesn't compare to the size of the overall viewing audience, most of which don't even engage online in the fandom and might not know about the potential of buddie as a ship.

So that's the reason we may only ever get a love story that's written entirely in the subtext of the show? No, that's not good enough. I want to believe this show of ours is daring enough to let the general audience in on things and let them make up their own minds on the matter. Give the idea of buddie canon a fighting chance. Sure, the subtle nods and secret messages woven into the show might be crystal clear to us. But casual viewers probably don't pick up on those messages nestled in the nooks and cracks where buddie has been written up till now. We need to aim for more than subtext. And definitely don't settle for that color theory. If we are to get anywhere, we need to see them start spelling it out with explicit dialogue and storyline moments for the entire audience to interpret on their own.

By this season's end, the show needs to step out of the carefully crafted, unspoken undertones they always give buddie fans, and instead they need to explicitly spell out to the casual viewing audience, 'Hey there's a strong potential that Buck and Eddie might just be more than buddies (no pun intended). It has to be well done with clear hints leading up to it, of course, not just something in a single scene that's dropped on the casual viewers' heads like a piano. But it's more than possible to do, especially using flashbacks to buddie scenes and stolen glances throughout the seasons. Think about it. Eddie wrote Buck (and Buck alone) into his will; that's no small gesture! They can weave and layer these past moments into a current storyline, building up to a revelation from Buck and/or Eddie that feels like a "Whoa!" moment for all viewers (not just the buddie shippers), like, "I didn't see it before, but it makes sense. I can see those two as something more now."

And there are many different paths the show can take to get Buck and/or Eddie to this revelation. (I have my own idea of how it might go. The options are as diverse as all our fandom theories.) But how they get there isn't the important piece. What matters is that the possibility of something potentially happening between Buck and Eddie is CRYSTAL CLEAR in the narrative! Actually written into the dialogue and storyline, in a plausible way.

The show doesn't even have to commit buddie-end-game. They just have to give them a fighting chance by putting the possibility of it out there in the plain light of day, in front of the entire audience and see how it sticks. They could shift course in future storylines if it doesn't go over well, but my honest guess is that a majority wouldn't mind buddie becoming canon at all once they're exposed to it, especially if it was written/produced well; Oliver's and Ryan's on-fire chemistry is already there to carry it through. Many would come to root for buddie, especially over another new love interest introduced so late in the series that can't match all we've seen Buck and Eddie build together. Some viewers might not care one way or the other; they might just be in for the crazy emergencies each week. So then if we the remove this perception that buddie canon would not take well with general audience, what else is stopping it? I can't think of anything.... full steam ahead!

Now, am I prepared for the heartbreaking possibility that buddie might never go full canon in the sense we hope? That we may only ever get a love story buried in the subtext, if that's the best the show is allowed to give us? Sure, but it's much harder and so unfulfilling to come to terms with that outcome if the show never gives them a real chance at it in the first place.

This long ramble is all simply to say that I'm not demanding that buddie become canon. I'm asking that the possibility of it becomes canon.

If nothing else, it would take the "delusional" and "clown" stigmas off of buddie shippers' shoulders because addressing the potential of buddie in the show tells the audience that hey, maybe there could be something there; they didn't just "see things that weren't there". I don't see this as such a heavy thing to ask for. Please let this make sense to everyone. It does in my head. lol.

economy and women's skirt

economy and women's skirt 논문개요 I. 서론A . 경제와 여성의 치마 길이 의 관계에 대한 간략한 개요. 경제 트렌드를 반영한 패션 선택의 중요성 II. 역사적 관점 . 여성 패션의 진화와 경제 상황 과의 관련성 B. 경제적 변화를 반영하는 상징적인 패션 순간 III. 미니스커트 혁명 . 1960년대: 미니스커트의 부상과 경제적 해방 . 미니스커트가 여성의 역량 강화에 미치는 문화적 영향 IV. 미디 스커트와 경제 안보 A. 1970년대: 미디 스커트와 경제 안보 B. 사회적 신뢰의 거울로서의 패션으로의 전환 V. 맥시 스커트와 경기 침체 . 1980년대: 맥시 스커트와 경제적 불확실성B . 패션 선택이 경제적 불안을 반영하는 방법 VI. 무릎 길이의 치마와 현대 경제 현실 . 현대 패션 트렌드와 경제적 영향. 현대 경제 논의에서 여성의 치마 길이의 역할 VII. 패션의 심리학 A. 경제 상황과 관련된 소비자 행동 분석 B. 비언어적 의사소통의 한 형태로서의 패션 선택 VIII. The Impact of Social Media on Skirt Length Trends A. The Impact of Social Media on Rapid Changes in Fashion B. How Economic News Spreads Through Fashion Platforms IX. Sustainable Fashion and Economic Responsibility A. Raising awareness of the environmental impact of fashion B. Economic Impact of Sustainable Fashion Choices X. Empowering Women Through Fashion A. The Link Between Women's Empowerment and Fashion B. Inspiring Stories of Women Making a Statement Through Fashion XI. Cultural Differences and Economic Interpretations of Skirt Length A. Different Cultural Perspectives on Skirt Length B. Regional Economic Symbolism XII. Future Trends: What is the Future? A. Predictions about fashion trends related to economic development. B. How technology and global events are shaping future fashion choices XIII. Conclusion A. Summary of the complex relationship between economics and women's skirt length B. Call for reflection on the subtle message of fashion in economic discussions Article Economy and the length of women's skirts: the story of threads and economic threads In the complex dances of fashion and economics, it has been proven that the length of a woman's skirt is not just a fabric, but a subtle reflection of the economic climate and social changes. From the 60s to the present day, women's skirt length has reflected the highs and lows of economies around the world. Join us on a journey through time and hemline and explore the emotional tapestry of fashion and finance. I. Introduction . A Brief Overview of the Relationship Between the Economy and Women's Skirt Length Fashion, a silent language that speaks a lot, has long been intertwined with economic trends. The length of women's skirts, in particular, has served as an unspoken indicator of economic well-being or turmoil. B. The Importance of Fashion Choices That Reflect Economic Trends Beyond mere aesthetics, an individual's choice of clothing can reveal an unconscious response to their economic situation. In times of prosperity, hemlines can emerge as a celebration, while in times of economic uncertainty, they often return to a longer, more conservative style. II. Historical perspective . The Evolution of Women's Fashion and Its Relevance to Economic Conditions The history of women's fashion is a tapestry woven with threads of economic influence. From Victorian corsets to the flapper dresses of the Roaring Twenties, each style was a silent communicator of its time. B. Iconic fashion moments reflecting economic change Iconic moments, such as the introduction of Dior's "New Look" after the war, demonstrated a desire for renewal and prosperity. As the economy recovered, so did the hemline, ushering in an era of optimism and change. III. The Miniskirt Revolution . The 1960s: The Emergence of the Miniskirt and Economic LiberationThe The 60s, marked by social and economic upheaval, witnessed the emergence of the miniskirt. The short and bold miniskirt became a symbol of women's emancipation and economic development. B. Cultural Impact of Mini-Skirts on Women's Empowerment As mini-skirts became a cultural phenomenon, they reflected not only economic shifts but also a seismic change in gender roles. Women embraced shorter skirts as a statement of independence and empowerment. IV. Midi-Skirts and Economic Stability A. 1970s: Midi-Skirts and the Shift Towards Economic Stability As the '70s unfolded, hemlines lowered to embrace the midi-skirt—a reflection of a desire for stability and a move away from the radicalism of the previous decade. Economic stability became the new fashion statement. B. Fashion as a Mirror of Societal Confidence Midi-skirts, with their modest yet fashionable appeal, symbolized a society regaining its confidence. The correlation between longer skirts and economic stability showcased how fashion can serve as a barometer for societal mood. V. Maxi-Skirts and Economic Downturn A. 1980s: Maxi-Skirts and Economic Uncertainty The excess of the '80s was mirrored in the return of maxi-skirts—long, flowing, and reflective of economic uncertainty. As financial markets fluctuated, so did fashion, embracing a more cautious and conservative style. B. How Fashion Choices Reflect Economic Anxiety Maxi-skirts, in their length and coverage, became a shield against the unpredictability of the economic landscape. Fashion became a form of armor, offering protection and comfort in times of instability. VI. Knee-Length Skirts and Modern Economic Realities A. Contemporary Fashion Trends and Economic Implications In the contemporary era, knee-length skirts dominate the fashion scene. This length, a middle ground between the extremes of the past, reflects a nuanced response to the complex economic realities of the present. B. Role of Women's Skirt Length in Present-Day Economic Discussions Knee-length skirts represent a balancing act, mirroring a society navigating through economic challenges. The versatility of this length signifies adaptability and resilience in the face of an ever-evolving economic landscape. VII. The Psychology of Fashion A. Analyzing Consumer Behavior in Relation to Economic Conditions Fashion choices, including skirt lengths, are deeply rooted in the psychology of consumers. During economic booms, individuals may seek self-expression through bold and daring styles, while economic downturns often lead to a return to classic, timeless pieces. B. Fashion Choices as a Form of Non-Verbal Communication Without uttering a word, fashion communicates our aspirations, fears, and attitudes toward the world. The subtle language of skirt lengths, whether consciously or unconsciously chosen, becomes a form of non-verbal communication in the grand narrative of economic discourse. VIII. Social Media Influence on Skirt Length Trends A. Impact of Social Media on Rapid Changes in Fashion In the digital age, social media has become a powerful force shaping fashion trends at an unprecedented pace. Skirt lengths, once influenced by seasons, now change with the speed of a viral post, reflecting the constant flow of economic information. B. How Economic News Spreads Through Fashion Platforms Social media platforms act as echo chambers where economic news resonates. The length of skirts becomes a visual representation of economic sentiment, with influencers and fashionistas becoming inadvertent economic commentators. IX. Sustainable Fashion and Economic Responsibility A. Growing Awareness of Environmental Impact in Fashion In recent years, the fashion industry has witnessed a paradigm shift towards sustainability. With environmental concerns at the forefront, the length of skirts becomes intertwined with the broader narrative of economic responsibility. B. Economic Implications of Sustainable Fashion Choices Choosing sustainably produced skirts reflects a conscious decision to support ethical practices. This shift is not just a trend but a fundamental change in consumer behavior, highlighting a growing realization of the economic impact of fashion on the planet. X. Women's Empowerment Through Fashion A. The Connection Between Women's Empowerment and Fashion Fashion has long been a tool for self-expression, and for women, it has also been a means of empowerment. The evolution of skirt lengths tells a story of liberation, breaking free from societal norms and embracing individuality. B. Inspiring Stories of Women Using Fashion to Make Statements From Coco Chanel challenging the status quo to modern-day activists using fashion as a form of protest, women have utilized their clothing choices to send powerful messages. Each skirt length, a brushstroke in the canvas of empowerment, contributes to a broader narrative of strength and resilience. XI. Cultural Variances in Skirt Length and Economic Interpretations A. Diverse Cultural Perspectives on Skirt Length The interpretation of skirt lengths varies across cultures, adding layers of complexity to the economic narrative. What may symbolize economic confidence in one culture could signify conservatism in another, showcasing the rich tapestry of global fashion. B. Economic Symbolism Across Different Regions As fashion transcends borders, it also reflects economic diversity. Exploring how different cultures interpret skirt lengths provides insights into the unique ways economic conditions shape sartorial choices around the world. XII. Future Trends: What Lies Ahead? A. Predictions for Fashion Trends in Connection to Economic Development As we gaze into the crystal ball of fashion, predictions emerge about the future of skirt lengths. Will there be a return to bold statements in times of economic prosperity, or will a sense of caution continue to influence our choices? B. How Technology and Global Events Shape Future Fashion Choices In an era of rapid technological advancement and global connectivity, external factors play a significant role in shaping fashion trends. From pandemics to geopolitical shifts, each event leaves an imprint on the fabric of our collective wardrobe. XIII. Conclusion A. Recap of the Intricate Relationship Between Economy and Women's Skirt Length In conclusion, the journey through the history of women's skirt lengths unveils a captivating correlation between fashion and finance. From the liberating mini-skirts of the '60s to the sustainable choices of today, each era tells a unique story of resilience, expression, and adaptation. B. Call to Reflect on the Subtle Messages of Fashion in Economic Discussions As we navigate the ever-changing landscape of economics and fashion, let us reflect on the subtle messages embedded in the lengths of our skirts. These choices are not just about style; they are a reflection of our collective consciousness and response to the world around us. FAQs Is there scientific evidence supporting the correlation between skirt lengths and economic conditions? While not strictly scientific, numerous studies and observations suggest a correlation between fashion choices, including skirt lengths, and economic shifts. It's a fascinating area of study that combines sociology and fashion analysis. How can individuals make sustainable fashion choices without breaking the bank? Sustainable fashion doesn't always mean expensive. Thrift shopping, clothing swaps, and supporting eco-friendly brands on a budget are great ways to make conscious choices without sacrificing style. Do men's fashion choices also reflect economic conditions? Absolutely. Though the article focuses on women's skirts, men's fashion, including suit styles and tie widths, has historically mirrored economic trends. The concept of fashion as a reflection of society applies broadly. Are there any cultural taboos associated with certain skirt lengths in different regions? Yes, cultural norms and taboos vary widely. In some regions, shorter skirts may be considered inappropriate, while in others, longer skirts might symbolize conservatism. Understanding cultural nuances is crucial. What role does fashion play in times of economic crisis? Fashion can act as both a mirror and an escape during economic crises. Some may turn to timeless, classic styles for a sense of stability, while others may use bold fashion choices as a form of resistance or optimism. Read the full article

Churail ky badly ki kahani | Horror Kids Stories | Stories in Hindi | Haunted Stories

In the enchanting landscape of childhood, there exists a timeless treasure trove — the world of kids' stories. These narratives, spun with whimsy, wisdom, and wonder, hold a unique power to captivate young hearts and shape the trajectory of growing minds. From beloved classics to contemporary tales, the magic woven into the fabric of children's stories transcends mere entertainment, leaving an indelible mark on the developmental journey of every child. Let's embark on a journey into this captivating realm and explore the profound impact of kids' stories on the canvas of youthful imagination.

1. Imagination Unleashed:

Children's stories are gateways to unexplored worlds where the ordinary transforms into the extraordinary. From the mischievous adventures of curious monkeys to the magical realms where wizards cast spells, these tales ignite the spark of imagination. Through vibrant characters and fantastical landscapes, kids' stories invite young readers to dream beyond the confines of reality, fostering creativity and a boundless sense of possibility.

2. Lessons Disguised in Narratives:

Beneath the enchanting narratives lie subtle threads of wisdom and life lessons. Aesop's fables, with their talking animals and moral allegories, impart timeless truths about integrity, kindness, and the consequences of actions. Modern tales, too, carry messages that resonate with the challenges children encounter, offering guidance on friendship, resilience, and the importance of embracing one's uniqueness. Kids' stories become not just sources of entertainment but also repositories of essential values that shape character.

3. Emotional Intelligence and Empathy:

Within the pages of children's stories, emotions come alive. Characters grapple with fear, celebrate joy, and navigate the complexities of relationships. This emotional spectrum serves as a mirror, reflecting the varied emotions that children themselves experience. As young readers connect with characters on an emotional level, they develop empathy — a crucial skill that forms the foundation for understanding and relating to others throughout their lives.

4. Language Development and Literacy Skills:

The rhythmic cadence of rhymes, the vivid descriptions, and the delightful dialogues within kids' stories contribute significantly to language development. Reading or listening to these stories enhances vocabulary, comprehension, and fluency. Whether it's decoding the whimsical language of Dr. Seuss or unraveling the mysteries of a classic fairy tale, children are immersed in linguistic adventures that lay the groundwork for strong literacy skills.

5. Shared Moments and Bonding:

The act of sharing a story is a sacred ritual that transcends generations. Whether it's a bedtime tale whispered by parents, a teacher weaving tales in the classroom, or the camaraderie of friends discovering a new adventure together, these shared moments create bonds that endure. Through the shared joy of storytelling, connections are forged, memories are created, and relationships are strengthened.

Conclusion:

In the rich tapestry of childhood, kids' stories are the vibrant threads that weave together a narrative of discovery, growth, and enchantment. Beyond their role as conduits of imagination, these tales shape the moral compass, foster emotional intelligence, and lay the foundation for a lifelong love of learning. As we celebrate the enduring magic of kids' stories, let us recognize their profound impact on the hearts and minds of the next generation, echoing the sentiment that every great adventure begins with the words, "Once upon a time."

Revealing the Secret in Denny JA's selected work 30: A Magical Bird Named Iman

Revealing the Secret in Denny JA's selected work 30: A Magical Bird Named Iman In the world of Indonesian literature, it is undeniable that Denny JA is one of the big names that has made a major contribution to the development of literature in the country. Denny JA himself is a writer, as well as a culturalist who has written more than 30 literary works. One of his chosen works that deserves to be listened to is "Unseen Bird named Iman". In this article, we will reveal the Hidden Raharahasia in the work. I. Background The work of "Unseen Birds named Iman" In this 30th elected work, Denny JA again showed his expertise in combining elements of literature with sharp social criticism. "The Unseen Bird named Iman" tells the adventure of a main character named Iman in living his life full of conflict and anxiety. II. Plot analysis The plot in the "Unseen Bird named Iman" is very well woven by Denny JA. Faith, the main character in this story, faces a variety of challenges and conflicts that make the reader unable to stop reading. Denny Ja presents a surprising climax at the closing story, inviting strong curiosity to the reader. III. Use of language style In this work, Denny JA uses a distinctive language style and captivates the reader. The language style feels light but full of meaning, so that the reader can easily be connected to the story delivered by the author. Denny JA also uses a strong and imaginative gambarambaran, improving a more pleasant reading experience. IV. Social criticism in "Unseen Birds called faith" As in the work of the other Denny JA, "the occult bird named Iman" also conveyed a social message that was critical of the current condition of the community. In this story, Denny JA criticized various social phenomena such as corruption, poverty, and injustice. However, his criticism was conveyed in a subtle but sharp way, making the reader encouraged to reflect on the condition of the existing community. V. Moral messages and values contained Through this work, Denny JA wants to convey moral messages and values that are important for the reader. One of the messages that can be drawn from the "occult bird called faith" is the importance of maintaining faith and belief in facing various conflicts and challenges in life. Denny JA also wants to invite the reader to be more sensitive to existing social conditions and dare to make changes. VI. Conclusion Denny Ja succeeded in creating an interesting and meaningful work in the "Occult Bird called Iman". Through a well -established plot, interesting language style, and sharp social criticism, this work succeeded in conveying important messages to the reader. This work proves that Denny JA remains one of the writers that deserves thumbs up in the world of Indonesian literature. In revealing the secret in the selected work of Denny Ja 30, we can see the author's expertise in delivering social messages and criticism through interesting stories. By presenting the main characters who face conflict and challenges in his life, Denny JA succeeded in inviting the reader to reflect on the conditions of the existing society and make changes. "The Unseen Bird named Iman" is a work that is worthy to be listened to and studied by Indonesian literature lovers.

Check more: Uncover Secret in Denny JA's Selected Work: A Magical Bird Named Iman

4 your eyes only j cole purchase

Moreover, an important characteristic of this album is that it wasn’t meant to be a mainstream hit. It must also be noted that this album had no features - something that Cole did in his previous album, as well. This album is the pinnacle of the development of this sound and style, whether or not J. Cole’s ability to convey a message in the way that he does is, at times, reminiscent of old school hip-pop, and to many people, that is what makes J. It is what makes the album and story even more significant it, together, with his elegant flow, sensational versatility and impressive production, just make the album all the more complete. The story stands as the facet of the album that was was most passionately and powerfully composed, being woven together into a lyrical spectacle that is not only sonically exquisite, but as unique and unrivaled as his work always is. However, in the end, as detailed in the song “4 Your Eyez Only,” the friend is the one who is not able to make it out alive, and asks his friend, the narrator, to leave the album as a story for his daughter that is meant to be for her eyes only, as the title suggests. Cole, and the friend in the same exact way: one of contemplation to salvation through the same exact route given the same exact circumstances. The album is meant to describe the transformation of both the narrator, which is assumed to be J. However, the beautiful, hidden layer behind the entire album is that this story was written to describe his life and the life of a friend that had passed away. 2,” because of his desire to satisfy his lover by doing domestic housework and dedication to his daughter. The transformation is seen as complete with the songs “Foldin Clothes,” and “She’s Mine Pt. The transition from contemplation to one of comfort, security and happiness is subtle but powerful, and each part of this transformation has a song that is dedicated to emphasizing each given phase.įrom “For Whom the Bell Tolls,” which demonstrates the contemplative aspect, to “Déjà Vu” and “She’s Mine Pt.1,” which introduce his lover, the catalyst for his transformation, to “Immortal,” “Ville Mentality” and “Neighbors,” which underscore the pressures of his living conditions, we see a clear path that he follows from point A to point B. He finds some solace in meeting a girl, building a life together and having a child. The record then transitions from a theme of contemplation to one of rehabilitation. These difficulties make him contemplate his life and the value thereof, which is the theme that kick-starts the album. He creates 4 Your Eyez Only to accentuate the difficulties of living in poverty, of living in “the hood,” of dealing drugs and of being a black man in a white America. J. Cole’s ability as a storyteller is, as stated above, especially noteworthy and on display. Cole’s ability as a phenomenal storyteller, a remarkable lyricist and a sound producer. Indeed, it was powerful, profoundly executed, easy to listen to, and it underscored J. The long awaited release was well worth the wait. With that being said, 4 Your Eyez Only provided what was expected while simultaneously, in many ways, exceeding those expectations as well. But, then it dawned on me - that was exactly the point.ĭrawing on the title of the novel of the same name, 4 Your Eyez Only, at least to me, was meant to mean something different to everyone. However, I struggled to understand exactly why this was the case and even struggled to explain the thought to a friend. Cole’s 4 Your Eyez Only for the first time. It does not store any personal data.This was the first thought that came to mind after hearing J. The cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies. The cookie is used to store the user consent for the cookies in the category "Performance". This cookie is set by GDPR Cookie Consent plugin. The cookies is used to store the user consent for the cookies in the category "Necessary".

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Finaces, Firebirds, Foxes and Fawns: 9

Author: @exquisitley-obsessed

Summary: A few weeks after Briallyn’s attempt at uniting with Koschei, Lucien opens the door of Lockhart Manor to find Elain, cold from the rain and holding a note from the High Lady of the Night Court demanding her to assist Lucien in building alliances with the human councils. Forced to work together by their exhausted High Lord and Lady, Elain is able to convince anyone to do anything, while Lucien has the acquaintances to go anywhere he likes. Together, they attempt to unite the fae and mortal lands and unravel the deal made between Koschei and Vassa, while Lucien remains haunted by his own promise to Elain’s father. ELUCIEN, POST-ACOSF

Pairings: Elain x Lucien, Elucien

Warnings: Mentions of sexual assault/abuse/rape + abusive families

A/N: I’ve added a tag list for those who wish to stay updated with this story! Just message me if you wish to be added <3

MY MASTERLIST

THIS FIC’S MASTERLIST

AO3

Chapter Nine: A Sight To See

Elain frowned down at the dress.

“I’m not sure if-”

“It’s perfect,” Nuala said firmly, glaring at her through the mirror. The surprisingly stubborn lesser fae was currently attempting to pin a handful of gemstones into Elain’s hair.

Elain just gave the fae a curt nod before looking back at herself.

Today was the day of the weekly meeting at Huckleberry Hall, i.e. Elain’s debut in the mortal realm as an emissary for not just the Night Court, but all the fae lands. How she’d gotten to this point in her life, she had no idea.

Yesterday she’d spent her time in the gardens chatting with Bartholomew, the Manor’s chief gardener. He was a sweet man that reminded her of her father, especially given all his travelling to the Continent and his collection of rare plant species in his greenhouse. He’d even promised her a few books on the matter and explained in great detail how plants can be useful for a number of things: healing, food, poisons.

He’d even pointed out the aphrodisiacs with a dopey grin, to which Elain had blushed furiously and moved quickly onto the exotic specimens.

She hadn’t seen Lucien that day.

Elain didn’t know why she was so aware of his absence given that she’d done just fine ignoring Lucien’s existence for two years. But yesterday, not seeing Lucien had thrown her balance off. When she was in the garden she kept looking up at the windows of the East Wing where his room supposedly resided. If only to catch a glimpse of red hair and a scarred face, just so she’d know he was okay.

Eventually, she’d turned in to the library to give one final assessment of her notes, and had spent the entire time trying to ask Nuala if Lucien was in the house without technically saying the words.

“Yes, that sounds good,” Nuala said without looking up.

“Yes, that sounds good,” Nuala said without looking up.

“Yes, that sounds good,” Nuala said without looking up.

“I…I don’t know what he does with his days.”

“Me neither,” Nuala shrugged.

“I haven’t seen him yet today…”

“Oh…shame…” From the glint in Nuala’s eye, Elain knew she had caught on to her not-so-subtle questioning.

“Yes…I wonder if he’ll be back later today.”

“Probably, considering he lives here.” Nuala was grinning now. And as Elain’s cheeks turned pink, she bit her tongue and stopped her questioning.

***

“Where did you even get this dress?”

“The Lady Morrigan gifted it to you before you left for the mortal lands, she was too late to say goodbye in person so she gave me the package.”

“Oh,” Elain nodded absent-mindedly. “How does Mor know my measurements?”

Nuala just grinned.

“Mor isn’t…talented in gift-giving, but she understands textiles like no other.”

Elain just nodded once more and shifted slightly upon dressing stand.

The dress was unlike anything Elain had ever worn before. The middle Archeron sister typically favoured dresses with full skirts and corseted bodices, all bedecked with lace, ribbon and silk, and paired with fresh flowers in her hair.

The dress she was wearing today just…wasn’t.

“Why am I wearing this again?”

“Because the mortals must understand that whilst High Fae and humans may look similar, you’re not. If you were to go in one of your standard dresses, the humans would see it as an attempt for you to ‘humanise’ yourself. Whilst common ground is important with the mortals, they must still understand that we are different. Do you see this fabric?”

Nuala took a finger and ran it along Elain’s covered shoulder, who nodded in response.

“This fabric is called Didache. It’s only found in the fae-lands, particularly the Autumn Court. It comes from the Dida-bugs of the Burning Caves who produce a fine silk-like fabric that is woven into sheets. It will remind the humans that we are different and yet-” Nuala grinned at her, “-beautiful.”

Elain blushed and nodded. The fabric was a deep forest green and yet, it moved like water. It seemed to always be shifting with the smallest of movements and sometimes, in the light, she could see not one but hundreds of shades of green flowing together, interspersed with threads of gold.

Mor’s ingenuity was shown in the choosing of this dress, as it both demonstrated a stylistic change between fae and mortal wear, and yet Elain was still able to maintain a comfortable modesty that would not outright alarm the humans.

The dress, unlike the flouncy human design, was a tight fit. It began high on her neck and covered her entire body, connecting to her hands via a tie on her middle finger. It cascaded down her body like a second skin, accentuating every dip and curve. Most strange of all was how it clung to her thighs (a sensation Elain was not yet used to) before the fabric flared ever so slightly at the knees and left a small trail of watery, emerald fabric to follow her as she walked.

It was simple, yet a statement.

Elain would’ve hated to wear such a tight dress if, well, she didn’t look so good. She’d been taught her whole life that covering up was natural for women and whilst she certainly wasn’t prepared to wear the kinds of dresses Feyre sported to the Court of Nightmares, this dress seemed to call for her.

“I think Mor had this prepared for you for some time,” Nuala said, pushing the final pin in. The hairstyle hailed from the Day Court Nuala explained as she had coiled Elain’s mass of hair on top of her head whilst leaving large strands to dangle down her shoulders. Brown bands were wrapped around her head and interwoven into her curls were dark green gems that glittered in the light and made it look as though her hair was made of starlight.

It was…beautiful.

“Thank you, Nuala,” Elain said quietly when her friend stepped back to survey her work.

“No problem,” Nuala smiled, “I know it’s not your usual dress, but you truly look like a Fae princess, perhaps even a High Lady.”

Elain reddened and surveyed herself once more in the mirror.

“The others are waiting for you at the stables,” Nuala said suddenly as shadows began to coil from her hair and she extended her hand to Elain.

After peering one more time at her notes on the table, Elain turned and glared at the female she saw in her reflection. With her hair pinned back, her pointed ears were on display, slightly pink at the tips from all her flushing. The dress, the hair, her dark eyes, the flawless skin – Elain was undeniably beautiful. And undeniably fae.

With a sigh, Elain turned and grasped Nuala’s hand before she could think too much about how she looked and all that had changed.

Even if she didn’t know how to play the part of fae, she might as well look it.

***

There was a small bustling crowd around the stables of Lockhart Manor. The stables were placed near the entrance to the woods and the small trail they would follow all the way to Huckleberry Hall.

Letting go of Nuala’s hand, Elain turned to survey the small crowd. There were stable boys and a few guards, and she could even peek Bartholomew speaking rapidly to a woman in a fine dress who was nodding along with interest, Jurian a few paces behind them, looking bored as ever.

No Lucien.

The thought shouldn’t have made Elain’s heart sink as it did. She’d been awake since sunrise, having breakfast in her chambers as Nuala began the prep work for getting her into the dress. And maybe as she watched herself slowly being transformed into a fae princess; she could only think of her mate’s reaction to seeing her in such an outfit.

Turning back around, Elain’s eyes once more fell on the gardener and the woman, now pointing down at the strawberry plants that lined the pathway. It took a few more moments of staring for Elain to realise that she was, in fact, looking at Queen Vassa.

Looking over her shoulder, Elain threw a stare at Nuala who only shrugged in response. Elain turned back. How was Vassa out? The sun was at a midpoint between East and Mid-day, she should be well past her transfiguration by now.

Sighing, Elain practised walking as she made her way over to the Queen. The dress was surprisingly practical, easier to move in than any of her corsets. Instead of restricting her movements, the fabric simply glided over her skin and moved with her, no doubt catching the light as it did and reflecting a thousand shades of green.

“Queen Vassa,” Elain greeted with a small curtsey.

The Queen turned from the gardener to nod at Elain, and Elain saw how Vassa’s eyes caught on her appearance, her eyes flicking up and down her body for a brief moment, her figure seeming to still.

“You look magnificent, Vassa,” Elain smiled, hoping that her compliment was seen as nothing other than a peace offering.

Vassa was sporting a traditional human queen’s gown. The colour was a deep gold with a panel of green and crimson embroidery running up the centre of the dress. There was a low tie hanging on the queen’s slender hips and a heavy crown upon her forehead. She was the image of strength and power, and next to her, Elain felt as though she looked like the evil-fae seductress.

“Forgive me if it’s a crude question but, how are you…”

”Here?” Vassa said drily, raising a brow. Elain forced herself not to flush with embarrassment and just nodded.

Vassa sighed as though she were bored and raised her hand. Elain was unsure what she was supposed to be looking at, there were two rings on her hand and a nice set of manicured nails but-

Then she realised. The ring on her fourth finger was made of black metal and was far too heavy and brutal to be worn by a Queen.

Looking at the ring, Elain felt something coil in her gut. Turning fae had attuned her senses to magic, and thrumming from that ring was a magic that smelt like sickness.

Suddenly, Elain felt herself drifting out of her body, able to look down on herself and Vassa. As she did, she had the distinct feeling of something falling into place.

”It’s a new addition.”

Jurian's voice snapped Elain back into her body with a small gasp. He was slowly stalking up to them, cutting into a fig with his knife as he moved with a predator-like grace. “It seems that Vassa’s keeper sent us a house-warming gift. He’s only two years late.”

“Jurian…” Vassa sighed tiredly, as though she’d had this conversation several times before.

”It seems like our death-Lord, from his lakeside manor, has decided to give our dear Queen the ability to see daylight.”

Elain could only glance between the two, barely able to keep up with their bantering. She was still feeling overwhelmingly nauseous and was trying to avoid looking at the ring directly.

”Don’t worry,” Vassa turned to Elain with a sneer, “I’m not fixed just yet. The ring comes with a cost. Each hour I put off my transformation adds 24 for later.”

”Why not leave it on?” Elain said in a quiet voice, still feeling the earth move underneath her.

”Oh yes, of course, I’m sure Koschei just skipped over that in his master plan,” Vassa snarked. Elain, to her own surprise, rolled her eyes.

“Well, hello princess,” Jurian spoke before Vassa could. He talked as though he hadn’t seen Elain before.

Elain’s skin couldn’t help but prickle as she watched his eyes lapping up her figure with a complete disregard for anything else.

“Jurian,” Elain nodded, trying to drag his eyes up to her own.

“What did we do to deserve this?” His eyes met hers with a wink and then, again, ever so slowly, Jurian’s eyes ran up Elain’s body, lingering slightly on the fabric that was straining over her bountiful chest before meeting her eye. Elain didn’t deem the comment with a retort.

“Leave her be Jurian,” Vassa rolled her eyes before turning to Elain with something that looked like a coy smile. “It’s fun to see them drool, isn’t it?”

Elain, to her surprise, found herself grinning widely and nodding. If she wasn’t mistaken, she and Vassa had just shared a pleasant interaction.

Today was full of surprises.

“And they say we’re the weaker sex.”

Vassa tipped her head back and laughed, and when Elain turned back to Jurian she found him watching the queen intently, something enigmatic in his stare.

“When you’re done with girl-talk, we really must get going,” Jurian rolled his shoulders. Even he appeared dressed in his finest, and Elain wondered just who it was that must’ve pinned him down to drag a comb through his scruffy hair, now flopping back from his, rather handsome, face.

“Last time I checked Jurian, I’m the Queen, I say when we leave.” Vassa pointed a look at the man who only seemed to smile wider at her retort.

“Of course, your majesty…” Jurian rolled the word around in his tongue, “When you’re ready, my queen, I’ll be waiting for you by the gate…possibly awake, possibly napping.”

And with that Jurian turned and strode away, the woman and the female watching his retreating figure strut across the pathway.

“Idiot,” Vassa cursed under her breath before turning back to Elain. “Lucien told me this morning he’ll be arranging your transport. Apparently, we’re not arriving together, Jurian and I will be one unit, you and Lucien another. Just so you know.”

As the Queen spoke her voice steadily grew colder and colder until she was back to how she usually was with Elain, her voice monotone and her eyes bored. Elain just gave a nod and that was enough for the Queen to deem the conversation over as she turned and followed Jurian down the path. As she moved, Elain couldn’t help but notice how she tipped her head back seemed to drink in the sunlight.

Elain was left standing in the middle of a small bustling crowd, many of the guards moving to follow their Queen and keep her safe. And so, Elain went back to her search for her mate.

After searching the crowd, she allowed her eyes to close and for her focus to turn within. It didn’t take long for her to find the bond, as soon as her eyes were shut it was there, glowing bright and gold, a single thread leading from her out ahead.

Angling herself, Elain followed the bond until she heard his heart, strong and steady, filling her ears like the most beautiful drum. Opening her eyes, she saw him.

Lucien was talking to a rather nervous stable boy and Elain was rather thankful for the small chance to ogle him without his awareness.

For one thing, Elain understood the stable boy’s nerves. Lucien looked…powerful.

He was wearing the finest of his fae attire, with fine brown boots and pants, a crisp shirt, a waistcoat and then a riding jacket. Across his chest was a bandolier with an assortment of eccentric knives, all sharpened to deadly perfection. On his hip were two swords, his autumn blade and another blade but made of gold. His hair was unleashed and cascaded down his shoulders and back, and his scar made his fierce expression even more lethal.

Two years ago, Elain would’ve been petrified at such a sight. It was a reminder that Lucien wasn’t her fae prince, that even though he had the makings of a perfect husband there was something darker and more alluring that hung around him.

He was a courtier, a disowned son, a silver-tongued fox. And Elain saw that everyone underestimated him, and that’s what made him most dangerous of all.

But while any fae prince might make Elain’s heart flutter, the sight of Lucien in his most professional, intimidating glory, roused some feeling deep within her gut. It was like her entire body turned electric, and the air between them seemed to crackle as the bond tightened.

Elain watched as Lucien’s brow furrowed and his hand reached surreptitiously to his ribs. Lucien’s eyes were no longer on the stable boy and his rambling, he was looking around – he was looking for her.

Elain saw the moment Lucien laid eyes on her. He stilled, the hand rubbing his ribs going stagnant.

The world seemed to fade away as Elain watched Lucien’s eyes take in her dress. He started by looking at the neck and then, at a tortuously slow pace, his eyes wandered down and down like Jurian.

But where Jurian’s gaze had made her tired and comfortable, Lucien’s seemed to set every nerve in her body alight.

She watched him as he watched her, and she could see him pause on certain parts. Taking in the first full display of her chest, the way the fabric ran seamlessly down her waist before flaring with her hips, and then again at her thighs.

Some part of Elain dared her to turn around, to show him how the dress barely fit over her behind, how the fabric seemed to stretch as it tried to contain the slopes and swells of her body.

She didn’t know where it had come from – but she didn’t want the voice to stop.

Then, Lucien’s eyes were reluctantly dragged upwards and just before they met eyes, Elain saw Lucien’s tongue dart between his lips to wet them. For some reason, Elain had the strongest urge to clench together her thighs.

Lucien moved forward like a predator stalking prey, with a lithe grace that was reminiscent of a snake.

Elain didn’t care for the rest of the world; she just saw him. Maybe it was not seeing him yesterday, but all Elain knew was that now he was nearby, she wasn’t taking her eyes off him for the foreseeable future.

Every step was torture. Every inch closer made the bond thrum and sing with delight.

Lucien came to a stop barely a foot away from her. There was a pause of silence.

“Elain,” His voice was low, gravelly, restrained.

“Lucien,” Elain’s own voice was breathy.

And then Lucien was bending down, leaning in close almost as though he were going to kiss her and Elain – Elain didn’t recoil. When Lucien’s face was inches from her own, his eyes searing into hers, she felt his palm slip into hers. His hand was warm and much, much larger than her own, and Elain felt raw electricity jolt through her at the contact.

With a deliberate, torturous slowness, Lucien raised Elain’s hand to his mouth and placed a single kiss on her knuckles.

Many men had kissed Elain’s hand before, from old to young, bachelors to fiancés. But it had never been like this.

Lucien’s lips on her knuckles was like a promise. It was just lips on the back of her hand – it was entirely inadequate, it was nothing – and that is what made Elain’s body sing.

Lucien’s eyes never left hers, and as he straightened, he didn’t let go of her hand.

“We’re planning on riding to Huckleberry,” Lucien’s voice sounded a bit clearer, but his eyes were still dark and glittering.

“Okay,” was all Elain could manage. But her body was in overdrive, her entire existence being concentrated into the feel of Lucien’s hand in hers. One small touch and she was consumed.

“Oh look! Lucien-” Jurian’s voice swam from somewhere off to the side.

“Vassa, Jurian, you best be headed off now, you don’t want to be late to miss the guards at the northern checkpoint,” Lucien spoke without looking away from Elain, and his voice was full of such a natural command that another pulse of heat ran through her.

Elain distantly heard as Vassa, Jurian and a few guards saddled up and trot out through the gardens into the forest. The world seemed to thin around them, stable boys returning to the Manor, even Nuala evaporated into the air, until all that was left was a grey-haired horse and Lucien, with his hand in Elain’s.

“I thought we might ride together, to present a united front. But if your uncomfortable there’s another horse in the stables saddled and ready to go.” Elain could’ve sworn that as Lucien spoke, his thumb ran across the back of her hand. “It’s also just a way of me making sure your safe.”

“Are you expecting there to be danger at the meeting?”

“No, very few even know of your arrival and the mortals are in too weak a position to attack a visiting fae. I just…for my own peace of mind.”

Remarkably, Lucien seemed bashful as he spoke, his eyes breaking from hers for a moment as he shifted on his feet.

“Oh…alright.” Elain smiled up at him, and it was a peace-offering. The world seemed to still for a moment as Lucien noticed, and his gaze lingered on her lips.

Then he was clearing his throat and turning to lead her to the saddled horse, but he didn’t release his hand, instead, he used it to tug her along, as though he were entirely reluctant to let go.

“The journey is significantly shorter on horseback; we should be there in around 15 minutes.”

Lucien eventually reluctantly let go of Elain’s hand as he hoisted himself up and onto the horse.

Elain could only watch. Watch as he set himself astride the saddle, watch how his thighs – how had Elain never notices his thighs before – clenched as he seated himself upright. Watch as he flicked his hair back over his shoulder, his muscles somehow flexing through the layers of his shirt and jacket. Watch as he extended his hand to her.

Elain frowned down at her dress as a thought struck her.

“Oh…I don’t think I’ll be able to ride anything in this dress.”

Elain felt rather than saw Lucien go still.

Looking up from the green fabric, she allowed herself to assess him. Lucien’s muscles seemed to be standing on end, his delicious thighs clenched so that the tendons stood to attention. His hands were fisted into the reigns and his knuckles had turned white with his grip.

Most intoxicating of all, was Lucien’s eyes. They were glazed over and distant, as though Lucien were thinking of something intently. Or rather, picturing.

And then Elain saw it.

It was from a distant perspective and the first thing she saw was Lucien, with his browning skin on display as he laid on his back across pale sheets. His beautifully muscled legs were exposed and tensed, his torso nothing but streamline muscles, his arms bare and glorious as they tightened as he gripped onto the figure astride him. He looked so…undone, with his red hair spilling across the sheets, his face furrowed, and his mouth parted with pleasure.

The female astride Elain’s mate had her head thrown back, her golden-brown curls bouncing along with her breasts as she bobbed wildly on top of him. Elain couldn’t hear them – couldn’t hear the moans that she saw rippling from her own mouth.

Then, the pace changed, instead of desperate jerky movements, Lucien and the female’s body slowed into an easy rhythm, each of their bodies rolling together with a trained precision. She could see Lucien’s mouth moving as he spoke breathily to the female, pulling her down so their foreheads touched. She watched as his eyes grew hungrier, how the rolling gave way to thrusting, how he took two fingers and pushed them into the female’s mouth and how she sucked enthusiastically before releasing them with a ‘pop’, how Lucien then dragged those two fingers down her body, slowly, before pushing them down to where they were joined and beginning to rub against her in slow, languid circles-

The horse grunted, and Elain jumped.

All of a sudden she came back into her body, it was as though someone had been holding her windpipe and abruptly let go. Her knees felt weak, her mouth dry, and for a moment, she could barely remember her own name, never mind where she was.

“We’ll winnow.”

Lucien was in front of her now, having gotten down off the mare whilst her mind was elsewhere. He was now fiddling with the buckles on the straddle before a stable boy took the reins.

Elain looked up at him dry-mouthed. Did he know what she’d just seen? Was she even…had there been a shift in her scent? Fear tinged with excitement plunged through her.

“You okay?” Lucien murmured; his eyes concerned as they roved over her face. It looked like he almost reached for her hand again.

Elain didn’t trust her voice and could only nod in response. Lucien seemed to assess her for another moment before he held out his arm, ever the courtier. The female looked out at the stables as she wrapped her hand around his bicep, trying to ignore how the muscles shifted and tensed under her fingertips.

“Right, well…let’s go.”

As Elain closed her eyes and held her breath to prepare for the twisting sensation of winnowing, she could on think of one thing.

Elain had just had a vision; she still had her powers.

WTFOCK Season 3 Analysis- Touch and Distance - (Sander focused)

First of all, this will be long. As in, VERY long. If you know me and you followed me at ALL for Skam Italia or WTFOCK ‘analysis’ posts (which I WILL finish) then you’ll know the length to expect… so if you get even half way, you deserve a medal. 

So, I have been promising this for a LONG time. I think I first said I’d write this when the reunion clip was released and I just… haven’t but seeing as we’re all in quarantine and I’m doing anything and everything to stay sane in my flat alone and we could all do with stuff to cheer us up, I’m offering this to fandom and I hope it makes you smile.

I think the reason I fell in love with Skam, the format and the intense character focus is because I love just that. I have always had an obsession with strong character driven TV shows/movies and even when I was tiny, I wrote an essay about Mary Poppins because I found her so mysterious and amazing. Shows like Skam and its remakes, when they’re GOOD they’re really really bloody amazing, mainly because they hone in on character detail and really use it for that perfect Skam-esque “show not tell” format. I’ve always found that kind of stuff so interesting and over the years have held this little collection of couples/characters/friendships from allsorts of shows/movies/theatre dear because they celebrate nuance… and Skam just spoils me!!

I have been MASSIVELY impressed with WTFOCK have done with Sander. He feels so fleshed out and dynamic as a character and in SO MANY DIFFERENT WAYS too. I think one of the things I was so giddy about was the way they still managed to keep the mystery there while also making it seem like we knew him so well. And we do. But I think that’s the reason it’s so cool because a lot of the things we know about Sander, he hasn’t really TOLD us. We’ve learned it through his actions or from reading into his words, from his reactions to people and the way he lives his life. That, to me, is like crack hahaha. I live for that stuff and for analysing a character and so I became a bit fixated on the way they used touch in season 3.

Now, it’s not just with Sander but with Robbe too. Touch was an ENORMOUS part of the season and we never really EVER had either of them talk about it. Robbe never really expressed verbal discomfort with touch early on but we saw it and Sander never expressed how important touch was to him but we witnessed it...and now we’re watching wtfockdown with Sander specifically struggling with lack of touch. Safe to say, I knew I had to write this eventually and after quite a few messages (you lovely lot), I am doing this for you. Enjoy!

SANDER FIRST...

SANDER.

When it comes to Sander, I feel like I have SO MUCH TO SAY but I think, the most important thing, is that touch is a cornerstone of character in terms of what calms him, what makes him happy, what makes him feel connected, what soothes him, how he expresses love, how he wants to show love, how he flirts… ALL OF IT, and distance is what plagues him. 

I re-watched each clip in turn and I’m still obsessed with how they layered his character with this idea. No other Even and not even Even himself has this element so strongly emphasised. Yes, they all like touch and some of the parallels have specific things that form part of their character like Eliott and Lucas and the whole touch of skin thing and Cris/Joana with the hair/cheeks thing and Even always loved to ground himself in touching Isak ETC… but with Sander, it’s such a narrative and it’s woven in so beautifully. ABOVE ALL, what makes me smile and what is so meaningful is that as Robbe grows and opens up and learns about touch himself (see my Robbe post to come), we see that Sander is gifted this really sweet boy who LOVES to touch and who is incredibly affectionate and finds himself learning that he is INCREDIBLY good at providing comfort. So their love story also becomes a story of touch and navigating distance from those perspectives.

I guess writing it out helps to see it so I’ll go chronologically. 

The first time we see Sander use touch is when he’s in the kitchen with Robbe. The entire scene is practically choreographed it’s so fluid but the lack of space, the shuffling around each other and the general ‘oh my god this person makes me feel things’ vibe makes the fact that when Sander purposefully touches Robbe for the first time, it’s a THING… that hand on his back. They do kind of brush up against each other a few times but that little linger of the camera on Sander’s hand on Robbe’s back makes me GIDDY because it’s all so intentional. It’s Robbe’s face that does me in. You don’t need his words because he does this sort of glance behind him and a bashful sort of dazed stumble… it’s so obvious that being touched like that by Sander got to him in an overwhelming way. It’s all electricity and that kind of giddy new love thing in the kitchen but that moment KILLS me because it’s touch that Robbe WANTS but doesn’t feel able to have… but Sander gives it because he’s SANDER. He’s demonstrable and purposeful (I will use that word a lot!) with touch.

Sander does stuff in a way that’s bold and purposeful (told you) and touch is part of that. ALL THE WAY OR NO WAY - right? So many times, you can see Sander decide and then act immediately. SO MANY TIMES. In the supermarket, feeding Robbe, in the bar when he decides to take Robbe off on an adventure, at the swimming pool ETC. SO MANY. And touch is a thing all wrapped up in that sense of purpose and spontaneity. His actions are mostly not overbearing or unwanted though which is so key. People seem to feel comfortable with him even if he is a little forward and NOBODY more than Robbe. Robbe doesn’t recoil, he lets it happen and not in the passive way we see him do early on but in the OH WOW HE TOUCHED ME way that can only come with attraction and early feelings. BUT THEY HAD KNOWN EACH OTHER HOURS. Hours, and Robbe was fine with it. 

Sander and flirting... HE IS SO OBVIOUS and touch is part of it every single time. That whole ‘oops I rolled into you in the sand’ is just textbook, man! Hahaha. I laugh at him early on because he is genuinely adorable with how obvious he is. Same can be said for the “oops I just need to grab this bottle that just happens to be right next to you which means I need to stand so close to you and wrap my arms around you’ - hahahaha. Not to mention the ‘oh let me teach you to turn on the oven and lightly touch our fingers’. Purposeful. 

Then you get the first time they’re together alone for their bike ride. I mean, we all know Sander is giddy. It’s what makes it so sweet to watch because he’s just SO HAPPY to have Robbe by himself and to go off on this adventure together. I LOVE the way he holds Robbe’s hand after they high five…. BOY. He takes advantage of stuff while he can. But when they get to the pool, it’s obviously an Even move and we all know how it goes but the first time he touches Robbe is to kiss him. We know it’s all he wanted, we know it was his plan, we know he’s been wanting to do it a long time but I LOVE that they kept in the recoil from Robbe because it is absolutely NOT a gradual progression for Robbe when it comes to Sander… it’s ALL IN and scary and overwhelming and Robbe’s instincts kick in but the second Robbe kisses Sander back, we get the start of seeing Sander and touch being a HUGE DEAL. Robbe is still learning and faced with the way Sander acts first, thinks later, the differences between them in this moment are STARK. It’s why it all goes so catastrophically wrong afterwards but why I understood what Robbe did even if it was so very wrong. 

Sander is SUCH an Even and I’ve always said he reminds me of Even the most of all the parallels but especially when he kisses. He’s a passionate dude! He kisses with meaning and with all he has and it’s little wonder Robbe described it as his head exploding… poor guy! You get that first glimpse of Sander acting on his feelings and he’s overwhelming. In that pool, he grasps and holds on and Robbe’s hair becomes a total THING for him. 

For me, I get most interested in touch from Chernobyl onwards. THAT CLIP. The stuff in it that’s so subtle but AMAZING when it comes to Sander makes me roll around in it, in the way it MEANS so much and says a lot about who he is. The DISTANCE he keeps from Robbe is not something we’ve seen from him yet. It’s clearly not comfortable for him but he deserves to keep it until he feels comfortable and I LOVE LOVE LOVE that he only moves closer but DOESN’T touch Robbe yet. And this next moment is what sparked my obsession…. The “i’m going to nearly kiss you and then not kiss you” moment. He uses touch to make a point. Purposeful. He stands close but they don’t touch and then he teases with it… tests Robbe’s response with it to see what he’d do. Robbe doesn’t move and allows it. He then clarifies how Robbe feels about stuff now and the second he gets his answer … fuck all of that noise and fuck all the issues I had in my head (a sentiment we KNOW Sander understands and grasps onto eventually - Chernobyl being the way he himself describes the effects of his bipolar disorder) he goes all in and closes the distance. KILLS ME. That use of touch to make a point is Sander ALLOVER. Never without purpose.

They don’t STOP touching AT ALL… until it’s used AGAIN. This time, this huge focus on pulling apart. It’s gradual. They disconnect from their bodies then they disconnect from lips and then that lingering shot on their hands and the whole holding on until the very last second…COME ON. It’s so perfect. So intentional and so meaningful. The fact that Sander holds on purposefully for so long until he absolutely can’t anymore, it makes him STUMBLE…. If that’s not a whole metaphor for who he is as a character then I don’t know what is! He WON’T allow that distance until he absolutely has to… and that fact characterises their ENTIRE story right up until wtfockdown!

Onto the cuddle scene and again, from Chernobyl, it’s full of poignant moments. It’s an overload in terms of seeing Sander respond to touch. There’s a lot of touching in this clip, a lot of playful stuff and kisses and cuddles but I think there are a few specifics that are in there for a reason that say so much. The first is the hair stroking. Now, we know Robbe and Sander LOVE touching each other’s hair and there’s a fair amount of pulling involved too… haha… but it’s so telling the way that Sander relaxes under Robbe’s touch. He spends most of that scene with his eyes closed. It relaxes him, makes him sleepy and comfortable and Robbe clearly realises it because when Sander seems distressed, Robbe goes straight to do it again. It’s all part of Robbe’s journey wrapped up in there too, learning how his touch can be soothing.I love that Sander barely moves from his position upside down on the bed. He allows Robbe the ability to do ANYTHING. He lets Robbs move around him, lets Robbe touch him and climb on top of him. He just basks in it and please go rewatch it and watch his eyes even when Robbe is talking… he closes them constantly like it’s making him fall asleep. He’s so comforted by it. When Robbe climbs on him, his eyes are even closed! He’s just VERY VERY happy allowing Robbe anything when it comes to moving around him and in his space. He lets Robbe koala himself on his back without a flinch, is so comfortable with the affection and clearly soaking it all in. I think the other moment is when Sander realises Robbe’s jealousy/upset and goes to very purposefully lie down against him to tuck his head under Robbe’s chin. The purpose in it, at the time, seemed kinda sheepish but we know better now. We KNOW Sander had tried to distance himself from Britt but she wasn’t allowing it and this is Sander purposefully closing that distance, taking it back and seeking Robbe’s touch again. It’s like he’s had that comforting touch now and, without it, it doesn’t feel right so he closes the distance the VERY SECOND he can. He does this a few times from here on out too… that lack of ability to stay apart from Robbe, the wish to keep that comfort coming. 

There’s this struggle we see from him AGAIN and AGAIN. When stuff with Robbe suffers because Sander’s truth gets in the way (with Britt texting in the cuddle scene, with their distance before the reunion where Sander tried to leave Robbe behind etc)... he CANNOT wait to remove the distance as quickly as he possibly can. The only exception is when they’ve been apart post hotel and Sander is unwell… but we know he’s frightened, embarrassed, worried about hurting Robbe and we know that he’s trying to keep Robbe at arm’s length to protect him but… and I’ll get onto it later but it’s PERFECT to me that the second he has touch back, the second Robbe kisses him, he crumbles. It means THAT MUCH to him. It’s such a pattern with him and it starts here, with Sander crawling across the bed, not allowing Robbe to be too far away while he still has him. 

For me, it epitomises that idea of “i don’t know if I’ll find someone like that, at least not someone who loves me”. Because, for Sander, he WANTS so badly. He wants to be in love and to find someone special and be able to show love but he’s terrified. For such a purposeful person, someone who acts on instinct, that is clearly so hard for him. He WANTS but he has to force himself NOT TO for all of the reasons he gives and for all of the reasons we can read from his behaviour. Those moments he stays away - aka post assault, post hotel - are all for a good reason and yet the second he realises that the worries that lead to his belief that he can’t HAVE are unfounded or resolved, he closes any and all distance and holds on for dear life. “I’m never ever letting go of you”. ALL THE WAY OR NO WAY. He either allows himself everything and that ‘all in’ sense of falling head over heels and clinging on for dear life or he cuts and runs… and the cutting/running part honestly must have hurt so badly for him. We know how much Robbe means to him and how much touch and comfort he gets from their relationship… to leave that behind when he can’t remain over the other side of the bed from Robbe normally must have been so hard for him. 

ANYWAY. The date. I’ve talked about this endlessly but the first minute or so of this clip is some of the best chemistry I’ve seen in the SCU and, in general, to be honest. It hit me like a freight train when I first saw it. For LGBT+ folks, seeing stuff like this is impactful. Mainly because it’s shown as so natural and normal and given the same respect and focus on desire and sweetness and simplicity as hetero love stories have been given for millenia! 

They touch constantly throughout this clip but I just LOVE the focus on it. The camera lingers. Every shot is there for a reason. Sander’s touch goes from playful to casually affectionate to passionate to suggestive within seconds and he drowns in it! It’s mesmerising to watch. Again, it almost feels choreographed. The moment that kills me is Sander just running one finger across Robbe’s collar bone. WHOEVER decided to include that --- director or writer or even actor --- it’s just perfect. It’s so Sander. He doesn’t stop touching and that little focus on the fact that he always wants to show how he feels through touching Robbe...the fact that it is on his skin when Robbe is wearing a full on sweatshirt shows how much Sander seeks intimacy out. It’s so purposeful once again and yet so simple… but the main thing is that Sander uses touch to keep that connection going. The music change at that exact moment is what does it for me. It’s dream-like, swoony and mesmerising. You can feel the dazed sense of love and adoration, the intimacy of the fact that Sander can’t help but hold onto Robbe’s hair again and even when he’s whispering to him, can’t help but chase it with kisses. Sander uses every thought and feeling he has inside and translates it directly into touch. He communicates with it! 

Which leads pretty nicely onto the reunion… because the next time we have Sander able to reach out physically is SO MUCH LATER. The assault, the distance Robbe enforces (for good reason because of what he believes happened at the party) and then the confusion about the mural creates SO MUCH DISTANCE.

The start of the reunion clip is one of my all time favourite SCU moments from any remake. The acting is near perfection. I’ve posted tons about it before but GOD. I love that, to this point, after that intense, hazy kind of love they were starting in the bar… everything was torn away from them. As I said before, Sander is either ALL IN or not at all. When he’s in, he’s REALLY in and touch is fundamental. 

So it KILLLLLLSSSSSS MEEEEEEE (Yes, I am being dramatic but GOD) that the first thing he does when he walks in the foyer of Robbe’s building, without explanation and after so long apart and so much mess existing between them is… close the distance between them physically. 

This scene reminds me of the La Grotta scene from Skam It s2. Every touch and movement in that scene with Marti and Nico is a form of communication and it’s the same here. I guess it’s why I love both scenes so much because ‘show not tell’ is precious and intelligent and so so much more meaningful for a viewer. The way Sander just stands there and then without words, kisses Robbe and tries to do what he can normally do so easily and communicate through his touches is heartbreaking. But too much has gone on. It’s not possible to communicate that way after so much hurt and confusion. 

Then that forehead touch. GOD. I remember watching it and being so bowled over without how much was SAID by both of them. The way that Sander leans into it like he KNOWS he can’t use kisses to sort it all out but just NEEDS comfort and Robbe’s touch… and the way Robbe lets himself have it for a moment but then makes genuine crying noises of frustration to get Sander to stop. The “I want this so much but stop, it’s not fair what you’re doing” is so obvious in his actions. It’s all because it’s how they communicate. BECAUSE touch is their love language, the fact that they can’t give into it is PHYSICALLY painful for them both. They both just stand there with their eyes closed. Sander looks exhausted, devastated but also so deeply comforted by Robbe’s presence and the fact that he can be close to him again in equal measure. Robbe lets out this big sigh and it screams “I know, I feel the same, this feels so right and I miss you so much but I can’t let you forget everything that happened” - YET THEY DON’T STOP TOUCHING. I love that regardless, they stay connected and cannot physically part themselves. It’s written all over Sander’s face how much it means to have Robbe so close and Robbe’s little nose rub is plain adorable. They are literally standing there comforting each other while at the same time trying to communicate through nothing but touch… and the RELIEF in those touches too. 

It’s little wonder that what happens next happens in the way it does. Those few words from Sander and the touches between them are enough for them to just KNOW. Their connection is so fundamental that it’s worth fighting through and relying on that gut instinct for them. 

Sander is then able to do what he’s good at and be purposeful, firm and to throw himself into it. ALL THE WAY. Once he knows he is ok again, that he has permission and is allowed to let his heart go, he just falls into it and it’s ALL TOUCHING from then on. Every kiss is so meaningful and there are a few specific moments that are really meaningful to me. 

The first one is Sander’s smile when he lands on the bed. He is never happier than when he’s able to be free like this. He revels in the ability to throw himself into his feelings. He’s ridiculously enviable tbh. The next moment is the whole clawing, clinging thing he does. Yet again, poor Robbe’s hair gets yanked every which way but I love that we get that glimpse of ‘never letting you go’ mentality he has to keep Robbe as close as physically possible and the way he closes his eyes, smiles and loses himself in those moments. They’re so close to Sander POV it’s crazy. It reminds me of during the cuddle scene when he closed his eyes. Touch grounds him in the most astounding way! I LOVE that the lyrics during this as “take it how you want it, take all my love”. PERFECT, man. That idea of give and take is SO IMPORTANT for them, for Sander especially. The ALL THE WAY mentality he has means that he could only EVER fall in love with someone who is able to counter it, someone who is able to GIVE IN to Sander the way he needs and lose themself too the way he likes. He could only ever fall in love with someone as willing to give and take the way that he is with comfort… and Robbe fits the bill, which is obviously as much of a surprise to him too! I think that’s where their connection comes in. That spark between them and the way they feel for each other is one of contentment so they’re quite happy taking what they need from the other person because the other is SO GIVING. Robbe is so affectionate which is what Sander craves and Sander is so purposeful and bold in his ways which is what Robbe needs. The last moment is the hand holding. Again, Sander is grounded by that physical connection. He clings and holds on and receives so much comfort from it. The knowledge that they’re in something together is clearly huge for them both.

The morning after scene is most meaningful in terms of touch when they get into Robbe’s room. I LOVE how natural it all is. Sander is very happy letting Robbe do what he wants again and it’s almost seamless for Robbe just to sit on his lap. But he’s completely incapable of reigning himself in. The purposeful side of Sander comes out in full distraction mode with Sander genuinely incapable of keeping his hands to himself. The whole playful kind of sexy “I’ll throw you around” thing is not only them at peak comfort with each other but Sander’s way of physically showing he’s not going anywhere, of reminding Robbe that he’s all Sander’s attention is on and all he cares about and that he can DO this now, just toss Robbe onto the bed and crawl all over him - hahahaha. He treats Robbe like he’s precious and completely focused on but also treats Robbe perhaps the way HE wants to be treated… those promises followed by touching with a little possessiveness, that reminder that he won’t be left alone. He gives it all to Robbe and in true Sander style, tries to communicate through touch as much as he possibly can because words mean honesty and they mean a risk of losing it all. 

The next notable moment is YET AGAIN, Sander playing with touch when he arrives at the flat. The “nope, Robbe, you’re not getting what you want until we do this fun thing I want to do with you to create a tradition”. He does it twice, playing with denying Robbe touch and physical contact. He has a task to do and he needs Robbe focused on it so he uses touch to keep that focus sharp… and then the fact that the VERY SECOND that task is done, Sander literally walks straight into Robbe’s arms and kinda carries him off towards Robbe’s room makes me laugh. He’s like “ok touching is allowed right this instant” … he knows himself. If he’d have allowed them to touch before he did his task, there’d have been ABSOLUTELY NO SHOE PUT OUT! He’s self aware ;)

Then the hotel… and oh my heart breaks and is soothed in equal measure because this evening was HANDS DOWN one of my most favourite Skam watching experiences. It is gut wrenching in real time and so beautifully acted, I can’t handle it, especially from Willem DS. That kid can act rings around most professional Hollywood actors. They both can. Yet another Skam remake showcasing young talent at its most special and honest. Anyway, I digress!

The shower scene has to be talked about. The show runners etc explained why they included it where the original didn’t (although planned to!) and I get why some found it a little too much but, for them, it worked. I mean, I’m not the person to talk about sex scenes but I definitely CAN talk tons about them when they’re MEANINGFUL and layered and this one is. It’s complete and utter trust. I love so much of the camera work here because you can see they tried to be as respectful as possible while also getting the meaning across and it worked so well… especially as the stuff that clicks for me is Sander’s behaviour. He’s so lost in it. Again, he’s someone who acts on instinct and needs someone who will respond to him with understanding. If someone’s not on the same page then he’s THROWN (and this is why the whole cyber sex things is killing me with its meaning for him!).  Again with Robbe’s hair being pulled all over the place but Sander allows himself take and be taken and it’s so important to who he is that it’s ALL THE WAY kind of love and that he’s allowed to be both in control and also completely vulnerable.

The way they segue into the shot of the bed and sander is completely wrapped up in Robbe’s arms kills me. There’s no one right way for them. Touch comes to Sander in his ability to be DEMONSTRABLE and also to RECEIVE. In these moments, he just snuggles into Robbe and takes and takes and takes and takes… but only because Robbe is so perfectly willing to provide. It’s why they work. That balance is what is so key about their relationship. Sander feels ok to suddenly go from firm and handsy to extremely vulnerable and the shot when the camera closes in on his face so serene and at ease, happy to be kissed repeatedly on the forehead by Robbe is just incredibly meaningful and emotional. He is allowed to be himself and to fall into it without worry even when he’s at his most vulnerable. He basks in it and it’s so comforting to watch. I love that he plays with Robbe’s necklace because not only is it him looking at a guardian angel around Robbe’s neck but it’s like a tick to ground him and comfort him right back. A touch to something so fundamentally Robbe.

The segue into the second clip where Sander is even MORE wrapped up in Robbe’s arms breaks my heart. I remember seeing the og Skam cuddle clip all those years back and realising that my god, I’d never seen affection from an LGBT+ couple before in that innocent, gentle, normal way! It’s sad that this was the case but it’s why Skam got under my skin and why the s3 storyline is always so precious to me. This is yet another example but throw in the respect shown to mental illness in a really human and raw way and I’m gone. I love that Sander is able to be so cuddly and open without worry. He’s going through it, struggling and when this clip aired I remember almost every post in the tag was about his eyes, the frantic eyes showing that so much is going on inside his head while he lies there still, soaking up the comfort Robbe is willing to provide. The antithesis is insane but works so well. Robbe has no idea that he’s effectively holding Sander together. He’s clinging on. He’s doing what he always said he would and never letting Robbe go.

The night time switch into Sander’s struggles hurts because he’s still trying so hard not to let go but his brain is struggling, he’s panicking, he’s not in control of himself and he’s scared. You can see it all over his face, in his eyes and body language that he WANTS to stay with Robbe and when Robbe asks him to come back, tries to pull him back to cuddle, Sander goes because he ALWAYS DOES. He tries so so hard till he can’t try anymore and that distance is forced upon him. It was devastating to watch in real time because we all KNEW what was going to happen (we’d seen it all before) but, for some reason, the way Sander was and what we’d learned about him made him being separated from Robbe in this vulnerable state really upsetting. He was so happy in Robbe’s arms, so comforted and then all of sudden it was gone. 

The fact that the cycle happens again to lead us into the next time we see Sander physically WITH Robbe is just crazy meaningful because this time, Sander’s truth is not able to be hidden. He can’t use touch to distract and to ignore his thoughts and reality. Everything about the way he acts is out of shame and embarrassment and fear of not being loved for who he is - flaws and all. When I eventually finish my analysis posts, I have SO MUCH to say about this but my goodness, Sander is the only Even aside from Eliott who doesn’t reach out and they both have that same feeling of shame in common. The difference is that Sander actively tries to hide away, to push Robbe away and ACTS on what the other Evens said aka I’ll hurt you, it won’t work, I should leave… he physically does that. The thing that makes me a little misty eyed is the fact that he also provides Robbe with information to help find him. He desperately wants Robbe to be the only one to find him while also simultaneously wanting him as far away from him as possible. He’s done it before with the mural, that “I love you and I need to show you but I can’t be with you”. It’s that desperate pull they have that just ends in mess but at the core has such love and comfort. Sander has run away from everyone, hasn’t reached out to any of them except Robbe and it’s his way of closing that distance even if he’s so sure Robbe is better off without him. Why else would he send Robbe that message, effectively using their history and experience to suggest where he is. Robbe was all he wanted, was all that comforted him (hence the drawings all over the walls) and the fact that when Sander is found, he kept pushing and pushing and pushing and resisting and falling apart through grief and pain and shame and every other negative feeling that overwhelms him… but STILL follows when Robbe asks. He’s trying so hard for the NO WAY of it all but it was never going to work. The fact that when Robbe properly touches him, he falls apart is just about the most obvious thing for me. Robbe is comfort and safety. He may not have all of the answers but just being close is so clearly and viscerally affecting for Sander that he collapses and lets Robbe take the weight of him both literally and metaphorically. That touch is all he needs to fall back into ALL THE WAY and let himself believe.

The fact that the next scene starts with Sander, completely wrapped around Robbe, their skin touching and Robbe stroking Sander’s hand just goes to show how much he allowed himself to use that touch again not only as comfort but as belief that he doesn’t need to mask things anymore. He doesn’t need to pretend and hide his reality, he can be open and vulnerable and also have the ALL THE WAY too. Robbe is that solid warm weight and reassurance. The purposeful Sander is still buried there, it’s just the vulnerability is too overwhelming and so he relies so much on Robbe here to provide what he needs. And god BLESS Robbe’s enormous affectionate heart because he’s perfect with him. Sander clearly meant the words from the day before, signifying he really expected Robbe to change his mind in the morning...those really quiet questions in the dark to Robbe are just heartbreaking because he needs reassurance. Robbe closes the distance to him, gets so close, kisses him multiple times, presses their foreheads together and doesn’t judge… and Sander is completely comforted enough to be able to fall asleep.

THEN… one of my ultimate favourite moments of Sander and touch. It’s like a culmination of EVERYTHING we’ve learned about Sander (and also it’s the same for Robbe but I’ll leave that for my Robbe post!!). He’s still vulnerable but getting back to his usual self a little playing games with Milan and you can see the spark in his eyes, the way he uses his words again to assert how he feels but, above all, it’s that contrast between him asking for a kiss and leaning back into Robbe in this purposeful way that’s perfectly softened by the fact it’s him receiving and seeking comfort too. It’s then that both sides of Sander come together and the fact he’s found what he seeks it in one person is so special. Robbe is EVERYWHERE. He’s all hands in Sander’s hair, legs either side of him, resting his chest against Sander’s back, holding his head gently, kissing everything he can get his lips on (mouth, nose, head, hair) and then settling with his arms around Sander’s neck. It’s EVERYTHING. Sander has shown from the start in most things he does how much touch is important in terms of asserting himself, seeking comfort and showing love and in this tiny little scene it has ALL THREE and is why they are both so dear to me as a pair. It’s INCREDIBLY romantic and very reassuring for anyone who has ever struggled in the way Robbe or Sander has… because it confirms that it is possible for people with specific needs and people who have been shaped by their experiences and come out of it with certain needs and vulnerabilities are able to be loved completely without judgement.

“In good time, you’ll come to know, when you release, when you let go, you can find yourself where you belong”

The best thing though is the way that Sander responds in this moment. He shakes his head and smiles to himself like he’s coming out of a trance. That little ‘yeah’ is adorable. That moment is enough to say all there is about what touch means to Sander as a human being and a partner. For a moment, Robbe helps him forget, sends him a little dizzy with love, gives Sander overwhelming comfort that Sander disappears into it and, as cheesy as it sounds, they fit. It’s exactly what all of the Even and Isak parallels had, that ‘i save you, you save me right back’ love story. They all did it in different ways but with these two, I was stunned with how much they put into the unspoken, especially with Sander. We don’t see him as much, we don’t get inside his head like Robbe’s but we still understand him, possibly more than any other Even parallel by the end of season 3 and this is the season closest to the original for unanswered questions! It’s why I don’t at all mind questions left unanswered and a lack of exposition and clean cut resolution because if the emotion is there and the nuance is there then it does half of it for you. 

I love that the final scene of the season, for Sander purposes, is him wrapped in Robbe’s arms! It’s kinda poetic.

I love his character so much. He’s insanely expressive and complex and he’s fascinating to me and to have WTFOCKDOWN is a total gift...because not only does it give us insights we’d never have gotten otherwise, we get this continuation of Robbe and Sander’s relationship and what is it about…. TOUCH. Hahaha. I mean, I couldn’t have asked for a more perfect topic for exploration of who they are together as a starter for ten, not to mention it’s so Sander focused too!

When it comes to Wtfockdown, we get to see Sander operating in enforced distance. We KNOW that when distance has been a thing in the past, he has tried everything he can to make up for it (murals, drawings, reaching out to Robbe cryptically). That compensation for the distance never ever worked. It always made it so that when Sander eventually had Robbe close again, he threw himself back in head first and touch was HUGE when it came to that. Now, Sander has Robbe completely and vice versa and no doubt knows fully what it is like to have that comfort and touch all of the time… but now it has been taken away. For Robbe, he’s an affectionate koala of a human but his relationship with touch has been a journey of discovery and of self but he doesn’t depend on it like Sander does. He communicates with it but, for Sander, it’s a vital part of who he is. I love that the first clip has Sander asking to meet up… hahaha. I remember being so giddy reading that because OF COURSE. He’s trying everything he can again. Then he broke my heart because this time, his form of compensation is to take Robbe with him on his walks. It’s yet ANOTHER form of compensation to try to fill that void where touch once was! 

Clip 2 starts their face to face journey and GUYS. I mean, Sander flat out saying that the thing he misses most about Robbe is his touch just about broke my heart and made me giddy once again! They really did that. He’s so happy to see Robbe, to spend time with him but over and over again he’s repeating ways to stop the distance like swapping places with Robbe’s mamma…! Bless his heart. The fact that he says “there’s nothing better than you”, he REALLY does mean it. We’ve seen a whole season of why that’s the truth! We’ve seen him reach that conclusion! Also, that compensation once again on dreams and daydreaming… ANY WAY HE CAN to stop the distance. He breaks my heart. 

Clip 3...ONCE AGAIN. “The endlessness of this tunnel symbolises the physical distance between them”. He cannot cope with it. This one made me a bit emotional when I first saw it. They’re not just words for his fairytale; he means them. The distance is DIFFICULT for him.  You can see it on his face when he says those words, he frowns. He’s speaking the truth even if he’s making it seem a little light hearted. Then that little private moment where it says he just wants to be with Robbe. It’s genuinely incredibly hard for him to not have Robbe nearby. For someone who thrives and depends so much on touch, the distance is painful and a genuine loss. It’s not just ‘i miss my boyfriend’ because there’s a real nuance there, a real part of who Sander is that prioritises touch and closeness so significantly. 

Clip 4. It took me FAR too long to get through this clip the first time around because I SHOULD NOT BE SEEING THIS but hey ho. I watched it again for you, dudes. Sander’s on the quest for compensation for the distance again, this time trying something new and yea, it’s a risk but he means it. It’s something he wants to try because it’s Robbe and it’s fun and he loves him and misses him and feels like it’s another way to feel like the distance isn’t so vast. The moment Robbe tells him he’s not into it, Sander looks a little crushed but immediately understands and lies down. Now, for me, I might be reading so much into it but because we have seen what touch means, as a stand in for it, and Sander now feeling so comfortable with Robbe, that moment of ‘I’ve gone too far’, ‘we’re not on the same page’ is huge for them. Sander can’t find what he’s looking for during the distance and you can see he feels so embarrassed but the moment he laughs at himself, tells Robbe that just lying together is enough and respects Robbe, you can see him trying to get back on that even plane. He loves Robbe so much and would never want to make him feel uncomfortable but for that split second, the comfort they have built wavered and Sander’s ability to be completely vulnerable was questioned… until it wasn’t and all was well for the moment because they talk and love and try. I love that they did that. I love that Sander’s inherent need for closeness was brought to light and Robbe’s need to GIVE affection was shown to be so true… only in person. Robbe thrives off that honest touch whereas Sander is grounded by it, comforted by it and finds it necessary...so without it is left floundering. THE LAYERS, guys. Rolling around in them!!!!

Clip 5 and we see Sander questioning himself. Sander still hasn’t quite felt ok since the other night and  he’s letting it affect him. That questioning himself is the same stuff we saw pre-final reunion where he allows his issues to cloud his judgement and he spirals a little when left to his own devices. It’s that insecurity that Robbe managed to settle in him, that push and pull they have but Sander is human and he’s struggling and Robbe’s not there to provide that settlement. He doesn’t RELY on Robbe so much as WANT him because he makes things better. The fact that all the while, Robbe is learning how far his own ability to provide affection and closeness from afar is able to go by seeking advice from Milan makes me want to weep… because the writing is perfect! Of course he is. Everything we know about him tells us he’d do this!

So we’re in present day and I can’t wait to see what they do next. The way they write these two separately and together shows so much understanding of who the characters are, what they mean to each other and this great respect for honouring what they’ve created with so much gentle nuance and emotion. If the past 50000000000 words didn’t suggest it clearly enough - I love what they’re doing so much!

If you’re still awake after all that, you’re super human. Thank you for reading and this post is LONG overdue but it’s here and as rambly as you’d expect. Robbe’s specific post will be along soon! <3

What is Tantra really?

"It is of utmost importance to really understand that consciousness is not unveiled by sudden orgasmic fits or any use of extreme energetic exercises, agitation, gesticulations, pseudo-shamanic dances, and other popular tidbits of "doing" in what is sold in the West under the name of Tantra - but, rather, by the slow and gentle emergence of Objectless Love, which calmly waits for us to stop pursuing the unattainable." (Daniel Odier) I have noticed many workshops out there in this day and age, offering Tantra as a package to open up to your deepest sexuality and bliss in one workshop. The focus is around performance and being a ''goddess'' or an empowered man that can bring your woman into full pleasure. It’s about accessing your ‘divine feminine’, or being the man that you were meant to be. ​ There is often a volunteer woman on the workshop demonstrating full sexual shaking ongoing dramatic body orgasms with deep bouts of pleasure, and groaning sounds of bliss. While that appears to be ideal and im not discrediting those that genuinely benefit from those workshops and are able to shift from those experiences, I am also very much aware that there are many that can be left traumatised by the illusions of the potential false promises of a climax that requires time and deep journeying in order to mature into, which often isn't possible in one workshop. The trauma happens because we see this happening to one person and our minds become fixated with the idea that there is something wrong with us if we are not experiencing the same, and so we jump from workshop to workshop with the focus of experiencing the same thing, whilst feeling deeply disheartened when we don’t. Firstly it should be mentioned that full body orgasms and love making is simply an ASPECT of practice on the path of Tantra, but it's NOT what Tantra is about. To progress with it, we need to understand what Tantra is, in order to understand how it can be of benefit to one’s life especially around sexual expansion. ​ Tantra a journey that inevitably brings your entire Being; body mind and soul into the present moment where you are able to receive and meet the truth of life. This truth is not based on some old trigger that lies dormant and energetically lodged in your body, filtered through your mind and projected into your reality as truth. It’s a meeting of your reality beyond the conditioned mind, free flowing and trusting in the moment for whatever arises without needing to negate it be it light or dark. ​ It’s the full individuation from an idea of who you are or how the world is, or how you should be in order to be accepted. This individuation materializes through fully dissolving however it is that you have previously been brainwashed or emotionally attached through parenting, society and ancestry. ​ It’s a deep connection to truth along with a love for what is. What really is, regardless of light or dark. It’s the full embrace and sublimation of shadow into light. It’s the deepest love and connection with source, the creator, existence and the cosmos, along with the full embodiment and presence in your body here on planet earth for all that it means to be human in this day and age. To embark on this journey is a lifelong process of ongoing unfolding and deepening. Each moment on the journey is the journey and not some focused promise on the horizon. ​ The more you allow the truth of life both light and dark to penetrate you, the more that which you are NOT, can dissolve, freeing up energy in your body and opening you up for deeper orgasmic pleasure but more importantly deeper states of acceptance and peace. ​ So now that we are a little clearer with this, please understand that the journey of healing a shut down base/root chakra (survival center,or center of embodiment) or a sacral chakra (sexual/tribal/creative center) takes awareness and understanding. This involves diving into/exploring directly that which frightens you in order to release and heal the illusions around it. ​ This might involve exploring themes such as: -What messages were you fed as a child around your sexuality. -The relationship between your mother ( the feminine) and your father (the masculine) and how this plays out in your reality. - How safe do you feel in the world? -How safe do you feel in your body as a man or a woman around your sexuality? - Have you experienced any trauma around your sexuality? -Do you feel a belonging to your tribe/ society? Any one of these questions take time and understanding to heal, and yet each of these themes can deeply impact your ability or inability to experience your sexuality… ​ What is Neo Tantra? ​ Neo-Tantra (as opposed to Classical Tantra) is a term used in the West to describe Tantra in the modern day.  While Classical Tantra’s aim is generally to utilize Life Force Energy to connect with higher levels of consciousness, Neo-Tantra is taught with a range of different ideals depending upon the teacher or school of thought. Neo-Tantric practices are designed to focus and utilize Life Force Energy to manifest intention, often related to spiritual growth.  The term Life Force Energy may be thought of as synonymous with the terms prana, qi, chi and orende, all of which come from other traditions. It is the energy that flows within and is responsible for giving life to the body and all of Creation. It is always there, whether or not we are aware of it. Many people interested in Neo-Tantra over-focus on the misguided reputation of Tantra as being “all about sex”. Sexual Energy is one powerful form of Life Force Energy. We all come from conception which is Life Force Energy manifested into the intention of creating human life.  Sexual Energy, like other forms of Creation Energy, is simply Life Force Energy manifested in a particular way. It is one (but not the only) form of Life Force Energy that Tantric practitioners draw upon to manifest intention and create transformation in their lives.  Life Force Energy can manifest in many non-sexual ways and Tantric exercises can be practiced by individuals outside of a sexual relationship. Of course, enhancing a person’s sex life can be one intention of Neo-Tantra and also can enhance a person’s growth in other ways.  Bringing awareness to sexuality allows us to engage with intention, rather than allowing our sexuality to control us.  In addition, sexual Neo-Tantric practices teach us to experience the subtle energies that exist within our sexual beingness so that we can enhance pleasure and direct those energies into transformation in our lives. These practices can increase orgasmic capacity and bring about deeper communication with a partner, resulting in higher levels of connection and an enhanced intimate relationship. Ultimately, whether you engage in Tantric/Neo-Tantric practices to enhance your sex life or to obtain spiritual or personal growth, you might find that you get both. My own training and exploration as a Tantrika and practitioner involves an immersion into a variety of traditional Tantric practices as a solo practitioner and in union with others in the Neo-Tantric traditions. These blends of experiences have become the foundation from which I offer my expertise. ​ What is Classical Tantra ​ The word “Tantra” is defined as “to weave, to expand, and to spread”.  According to some masters of the ancient practice of Tantra, it can be thought of as the “fabric” of life that has the potential to offer deep fulfillment only when all its threads are woven in alignment with the pattern outlined by the Universe. When we first come into this world, life automatically conforms to this pattern. As we evolve, our desires, fears, attachments and inaccurate perceptions of ourselves and others rip at the threads and consequently weaken our fabric.  Tantric practices work with the transformation of energy and to balance various polarities in order to strengthen our fabric and rework it so it can return to its original, authentic pattern. The powerful practices involved in yoga on a larger scale cultivate spiritual growth and wisdom. They merge beautifully in the Tantric tradition. Origins of Classical Tantra: The origins of Classical Tantra may go back as far as 20,000 years. Drawings and carvings that resemble symbols still used in Tantra today are found at that time. Tantra was actively taught in India and China more than 7,000 years ago. The exact history of Classical Tantra is not well documented, but here is one story about its origins.  Classical Tantra emerged in India during an important historical period.  At that time, the Aryans, a nomadic warrior culture, were fighting to conquer the indigenous people.  Although the Aryans thought of the indigenous people as inferior in other ways, the Aryan Rishis (sages), who posed questions about the origin and destiny of the Universe, were interested in the Spiritual practices of these people.  The two cultures influenced each other.  During this time of warfare, it is said that Shiva was born. While some tantric practices existed before his birth, it was Shiva that first gave humanity a systematic approach to spirituality. His teachings became known as the Tantra Shastras (Tantric Scriptures).  They included: Nigamas – Principals of Tantra Agamas – Practices of Tantra The Nigamas and Agamas became the foundation for Classical Tantra. After Shiva’s death, there were no more teachers of the same quality and Tantra fell into decline. Some of the teachings were then lost or altered because the writings became indecipherable or because the teachings were passed on only in secret.  This explains why the history of Classical Tantra can be difficult to trace and why some modern mysteries and misconceptions around Tantra persist today. Classical Tantra is still practiced in the East with great reverence and respect for the ancient traditions established thousands of years ago. "Tantra is not technique but prayer. Is not head oriented but a relaxation into the heart. It is a scientific approach! It is alchemy! It can transform your center's, it can transform the other's center's. It can create a rhythm and harmony between you and your beloved. That is the beauty of tantra. It is like bringing electricity into your house" Osho

Here’s Mafia Week Day 4! Prompt: “This is the family business.”

Warning: Referenced character death

Simon elbowed the kitchen door open, arms full with the tray of lasagna. He set it down atop a handmade potholder, then turned to go back into the kitchen. However, at that moment, there came a knock at the front door.

“I’ll get it!”

He pulled open the front door, and their stood Beck, still in his work clothes. He had a bag slung over his shoulder and a frown creased into his face. He was already tense with nerves, standing a little too straight.

“Hey, Beck,” Simon said, pressing two fingers to his lips and then to Beck’s chest. It was subtle, and they were standing close enough that no one would be able to see.

Beck flushed, eyes widening a fraction. Simon just flashed him a grin and went back into the hall, gesturing for his boyfriend to follow.

That was the biggest difference between Beck and Simon. Beck did not take risks ever. Simon always took risks, just well-calculated ones. He’d never do something too dangerous, just push the envelope enough to get his heart racing a little.

“Gotta finish helping Ma set the table, Beck. You have a seat, I’ll be back.”

Simon swept back into the kitchen, and dodged his mother, carrying a basket of bread. She swore at him under her breath, but he just laughed and grabbed the stack of plates off the counter. He backed through the door and placed one at each of the four seats.

Another knock at the door—that must be Uncle Pat. He rushed back down the hall and pulled the door open, greeting his uncle. The two walked back to the dining room, and Uncle Pat settled into his place at the head of the table. Beck and his mother greeted the man, as Simon ducked back into the kitchen to collect the glasses of water.

With a careful grasp, he took all four cups back out, and set them at each setting. On his Uncle’s left was Ma, on his right was Simon’s empty seat, and next to Simon was Beck. A hierarchy of sorts, deftly woven through something as casual as dinner.

He slid into his seat and let Uncle Pat serve him a slice of lasagna. As they ate, his uncle talked about work, about some new guys who were running messages, about a hit against some store downtown, all generic chatter. Simon only half payed attention. Despite what his uncle seemed to think of his work ethic, he stayed very up-to-date on all the happenings in the family, so he knew most of this stuff already. He’d been paying extra-careful attention lately, trying to catch wind of that missing briefcase. Of course, he didn’t catch it fast enough—he could almost feel that letter burning a hole through Beck’s bag.

Ma stood up to clear the table, stacking the empty plates together. Beck complimented her cooking, always polite, and Uncle Pat grunted his assent. When his mother had passed through the door, his uncle turned to Beck.

“Son, I’ve heard good reports from your quarter lately. No slip-ups since that leak. Knew I could trust you to do good work. I’ve got a new kid over in the courthouse who’s got promise, but he needs some grooming. I was thinking you could show him the ropes, how to properly schmooze the legal types, you know?”

He watched Beck nod enthusiastically. Being offered a position like that, training an underling, that was a big deal in the family. That meant something, a certain respect for you and your work—that’s why Uncle Pat had invited him over personally for dinner. Simon couldn’t help the tiniest proud smile creeping onto his lips. Beck was very good at his job—he never made mistakes. Maybe because he was always so cautious, or maybe because he just had the kind of face everybody trusted. Simon wasn’t sure, but whatever it was, it worked.

When he tuned back in to the conversation, Beck was pulling out a manilla folder. He held it out, reaching just slightly across Simon, and Uncle Pat snatched it from his hand. The older man took out the single sheet of paper and held it up to his face to read it. The frown already permanently pressed into his features grew deeper, and his eyebrows dropped into an angry tilt. That was never good.

“Those damn Connells. How stupid are they, thinking they can stir up trouble with us? And with fake evidence? There’s no way they actually have anything on us.” He paused, meaty hand fisted on the table. He glanced back at the paper, then continued. “We’ll show them. I’ll get together some men for a sting on Josie’s Diner, that’s in the heart of Connell territory. It’ll send a message—don’t mess with us, or else.”

Ma came bustling back in, gathered up the empty glasses, and ducked back out again.

“Simon, you’ll lead the hit. I think five or six guys should be enough. Give ‘em hell.”

He couldn’t let that happen—if they attacked the Connells, they’d release the evidence and his uncle would be screwed. The whole family would be fucked, honestly. No, he had to stop it from happening somehow.

“Is that the best idea? I mean, do we know for certain that they don’t have anything on us, anything we could have missed? And even if they don’t, what if they retaliate?” He flicked his chin at this uncle to punctuate his words.

“Are you suggesting that we do nothing?”

“Not…nothing. Just maybe let us stake them out a little, get a sense for what they might have, and if it’s nothing, then we call their bluff, but if they do have something—“

“They don’t. We don’t make mistakes, Simon. Our men don’t leave evidence behind; we clean up after ourselves. Are you implying that someone in our organization can’t be trusted, or are you afraid we can’t handle the Connells? Which is it?”

“Neither, I just think—”

“You and your thinking, you’re a disgrace. This is the family business, Simon, and we’re supposed to trust our family. Unless you know someone let evidence get out, then we trust that it didn’t, and we hit the diner.” He paused for a reply. “Well?”

Simon didn’t have a snappy answer. He knew damn well that evidence had been leaked, because of him, but he couldn’t say that, and he wasn’t about to throw someone under the bus for his mistake. He settled for a hard-jawed stare, hoping his uncle would back down. A long shot, but the best he could come up with.

“Nothing to say? Don’t be a coward, Simon. The Connells are trying to weaken us, passing messages filled with lies about us. If this fake crap got circulated around, what will our friends think, our allies? We need to show them not to mess with us, so we hit fast and hard. Tomorrow night. I’ll send you the names of the men you’re taking and the meeting point. Don’t disappoint me, Simon. I can’t have the heir to the business showing weakness in an important time.”

Simon’s hands were fisted beneath the table, tight enough that his fingernails were digging into his palms. The muscle in his jaw was twitching, teeth pressed so hard together it almost hurt. He glanced down at the table, then pushed his seat back.

“Dinner was great. I have some things I need to take care of.”

He promptly turned, and strode out of the room. Taking the stairs two at a time, he entered his room and locked the door behind him. There was a narrow space between his bed and the wall, and it was in there that he slotted himself, knees drawn up toward his chest. The wall was hard against his back, but he didn’t care.

The last time Simon had walked away from his uncle at the table, he was seven. Dinner had just been him, his mother, and Uncle Pat, and he felt uncomfortable in his older brother’s seat. Nick hadn’t been there for the past few nights, but this was the first time Ma had made him sit in Nick’s chair.

Uncle Pat stared him down after dessert, as if studying him. The man leaned forward, clasping his hands on the table in front of him. Then he nodded, slowly.

“Your brother’s dead.”

Simon frowned, confused. That couldn’t be right—Nick was just on a trip for Uncle Pat. He looked to his mother, and found her eyes glistening with tears. Ma wouldn’t cry for no reason.

“How—”

“He died while doing some work. But that means something important for you, Simon. You’re the heir to the family business now. One day, you’ll have my job, instead of your brother.”

“But I—”

“I’ll be coming by every day, starting tomorrow, to teach you the ropes. I expect you ready to start at 10AM.”

“But Nick—”

“Is dead. End of story.”

Simon couldn’t hold back the tears that rose up in his eyes. They spilled, hot and steady, down his cheeks. He needed to know more—why wouldn’t Uncle Pat explain? Why did he have to have Nick’s job? What happened to Nick? His lower lip wobbled, barely keeping a sob buried in his throat.

“Stop crying. You’re going to run this whole organization, you can’t be a crybaby. It’s ridiculous.”

Simon couldn’t take the way his uncle was glaring at him, like he was a bird that had just defecated on his car or an older brother that died inconveniently. He shoved the chair back and took off. He ran, feet pounding against the stairs on his way up to his room.

He had slid behind the bed in the same exact position then as he was in now. That whole night he had stayed back here, sobbing until his voice broke, then just shaking.

Tonight he wasn’t crying. Many things had changed since then—for one, Simon didn’t cry anymore. Ever. He hadn’t cried even once since that night, didn’t think he could anymore. For another, he’d become used to sitting back here—it felt marginally safer than anywhere else, and it was the one place he let his composure slip.

He stared hard at his knees as his legs slowly went numb. The room faded into darkness around him, tunneling until all he could see were the knees of his pants.. His eyes burned from staring; his chest ached from trying to suck in the tiniest breaths possible.

If the Connells used that briefcase, his uncle would know he failed. But that wouldn’t be enough—he’d ask why. And he wasn’t stupid enough to fall for a lie, no matter how clever, so he’d eventually figure out the truth about him and Beck. And then Uncle Pat would probably kill Beck first, so he’d have to watch, before offing him too. He knew his uncle wouldn’t hesitate.

Uncle Pat liked Simon, he never put him in danger without cause. That was the perk of being his heir, and a capable one at that. But Simon knew, had known for years, that the family business always came first, and his situation jeopardized that business. Uncle Pat would rectify the situation, like he always did. 

“Clara, it had to happen. He tried to elope with Carlo’s daughter. If I let that slide, what would that do for our reputation?”

A slap rang through the house.

“He was my son.”

“He was the family heir, and he failed.”

He had only faintly heard them over his own sobs, but he could never forget those words, not as long as he lived. Nick messed up, so Uncle Pat took care of it.

He’d take care of him too.

Chelsea Wolfe Interview / Cover Story // Revolver

Full feature via REVOLVER

Chelsea Wolfe has escaped into the woods and she's not about to come back. You'll find the singer-guitarist in the mountains of Northern California, hours from her Sacramento hometown, where the closest she gets to city life is in some tiny, ancient hamlets left behind from the Gold Rush days.

It's quiet up there, which might help explain the acoustic direction of her next album, a mostly solo project she's been writing and recording in her living room, her garage, wherever there's space to dig into Wolfe's new songs that are both intimate and biting, delicate and fierce. As an artist, she was already hard to pin down, with elements of folk, goth, post-punk, industrial, metal and more woven deep into her grooves. "I move in extremes, hot or cold," she says. "I tend to combine those two things at all times."

The still-untitled album is a left turn from the explosive rock guitars that dominated 2017's acclaimed Hiss Spun, with its churning songs of white noise and epic melodies. This year, she returns to her core inspirations, and the playlist Wolfe is spinning on infinite loop are recordings by Townes Van Zandt and Neurosis, Johnny Cash and David Bowie, disparate songwriters who cut deep. That makes the new album a kind of follow-up to her smoldering 2012 release Unknown Rooms: A Collection of Acoustic Songs, which gathered leftover folk tunes of a certain understated volume that hadn't fit on her other albums.

This one is different in that Wolfe is building this collection from the ground up, intentionally working within her own version of folk on songs written over the last year. She has longtime collaborator Ben Chisholm co-producing and engineering, and occasional guest players to add subtle layers of sound, including drummer Jess Gowrie. But she is determined to make this a solo project as raw and as cooked as the early country music and folk she heard growing up, with a modern message suited to the moment.

With Hiss Spun, her following only grew wider, and she's seeing fans with her lyrics tattooed to their skin. Wolfe is responding with new songs that both embrace and challenge, exploring the trials and triumphs of feminism, present and past, within an ever-changing world order that she's encouraged to see has a new wave of women rising to power in the U.S. Congress.

"I just follow my instincts and I follow all the strange and different voices that live inside me and I don't hold them back," says Wolfe, "especially not anymore."

photograph by John Crawford

YOUR LAST ALBUM, HISS SPUN, HAD A LOT OF EXPLOSIVE GUITAR MOMENTS. IS THIS ACOUSTIC RECORD A REACTION AWAY FROM THAT? CHELSEA WOLFE Honestly, I didn't know exactly what I was going to do next. I was so completely enveloped and focused on doing that record. And it was cathartic for me. That record felt very internal, but very explosive, as well, letting a lot of things out I hadn't thought about or talked about before. Maybe the natural reaction to that is to retreat into the wilderness and just write a really quiet album. It's introspective, but it's also about the history of women and what we've gone through over these years and how a lot has changed, a lot hasn't changed.

IS THAT INSPIRED BY RECENT EVENTS IN THE WORLD? I'm sure it is. Part of it has to do with just being a woman and getting older and understanding things more and just feeling that really visceral reaction to the way women are treated and seeing it on the daily in our society and on the news.

THIS ISN'T YOUR FIRST ACOUSTIC PROJECT. DO YOU GET A DIFFERENT FEELING ONSTAGE WHEN YOU'RE ALONE VERSUS BEING WITH A BAND AND HAVING AN ELECTRIC GUITAR IN YOUR HANDS? I haven't done shows by myself onstage in a really long time and it's not so easy for me. It's definitely more comfortable to have your band with you and to be able to lose yourself in all these sounds and things that you're creating together. But I also feel really ready and excited to do that, even though it's scary. I like to push myself into new territories musically and physically. Heavy music can be really intimate, and solo can be very intimate. So in a way it's the same thing, being up there and baring your soul for people.

HOW IS THE NEW RECORD BEING MADE? I'm recording it at home. Originally, I really wanted to do everything myself. Sometimes as a female artist, if one man is involved with one little thing on your record, they end up getting a lot more credit for it. I was being a little defensive at first. But as I started approaching it, I felt like that was actually a very lonely way of doing things and it didn't sound like much fun. So I decided to involve Ben, and he's helping engineer it so that I can just focus on recording the parts and not having to run back and forth to the board or computer.

I really wanted to play every song just with me and an acoustic guitar. That was important for me. So they all started in that way. We might add some electric guitar, or some kind of electronic beats to it.

I sat down with Ben and that really helped me finish everything — we would talk about a song and then I would run upstairs to my writing room and suddenly have all these lyrics that finished a song.

HOW ARE THE NEW SONGS RELATED TO SOME OF THE QUIETER MOMENTS ON HISS SPUN? I think it's different. I did Unknown Rooms, which was a compilation of a lot of acoustic songs I'd written over the years. They were just written with the idea of playing them as a solo artist in mind. I think every record definitely is going to have some heavy moments and some soft moments. Abyss had "Crazy Love" and Hiss Spun had "Two Spirit." It's just part of me to oscillate between the two.

CAN YOU TELL ME ABOUT ONE OF THE SONGS? One is called "Be All Things." It's very introspective and it's very triumphant. Conceptually, it's about a Victorian-era woman who is a maiden but very much wants to be a warrior — and just thinking about nature and environmentalism and how long that has been a problem and how we're trying to make changes but still we're just destroying the earth. Just when it seems like something's changing, it just gets worse. I think my music in general represents the soft and the strong, embracing the feminine and masculine of myself. This album is very much along the theme of that dichotomy. And I think a lot of people can relate to that, as well, whether it's a man or woman, a non-gender-specific person. I think a lot of people are starting to embrace that about themselves, the soft and strong, and then really finding that empowering.

DID THAT COME AS A REACTION TO SOMETHING? It's a bit of a reaction, but it's also just something that's really been a part of me for a long time. I'm not just one thing. You can't really put me or my music into a box. Sometimes that's frustrating for me because I think maybe it holds me back in a way, but then sometimes I think that is why I've been able to do what I do and why I have any kind of success as an artist and a musician. I'm saying in the song: "I want to be all things." I don't want to be held back anymore and I don't want to feel like I need to quiet my voice. I just want to be who I am and be free.

IT SEEMS LIKE A LOT OF PEOPLE FEEL THAT WAY. JUST LOOK AT HOW MANY WOMEN WERE RECENTLY ELECTED TO CONGRESS. Exactly. It's amazing. And I think it's very indicative of this time and more and more women and non-gender-specific people are really starting to speak up for themselves and let go of the fear of that. So that's definitely a strong theme with this new album.

HOW HAVE YOU EVOLVED AS A LYRICIST SINCE YOUR FIRST RECORDS? I'm a much better writer and I'm taking the time to really make sure I'm saying the right thing. As a younger artist, I would just write a song and then that was it. I never really went back and fixed up the lyrics or changed a word if I didn't like it. I love words and I love reading and I love thinking about language and how to make something sound the best way but also infuse a lot of meaning into even just a short phrase. On this new album, I'm using some archaic language to talk about new things.

HOW ARE YOU USING ARCHAIC LANGUAGE? I was spending some time with my great-grandmother before she died and I would often write down a word here and there that you don't hear anymore. Jess is very much like that, too. She was raised by her grandparents, so she has a lot of cute old phrases that she says that you don't hear very often. There's a moment [on the record] with the word "daylight plumed my skin." That's something I've probably read in some old poetry books. It's something sensual, and I'm always trying to bring sensuality into language and keeping that alive because I feel like sometimes that is a dying art.

ASIDE FROM YOUR OWN TOURS OVER THE LAST YEAR, YOU DID TOURS WITH MINISTRY AND A PERFECT CIRCLE. HOW DID THAT GO? I'm such a big fan of Ministry and they're really great — but I don't think their audience was as open as I thought they might be. So it was a little bit tough if I'm honest. I got really aggro on the Ministry tours because sometimes it felt like their audience was just looking at us with disgust. Not all of them. Of course, there were some really nice people that wanted to be open to it. It ended up being fun and it brings you and your band closer together, too. I just took it as another learning experience.

Al [Jourgensen] was so great and he would invite us onto his bus after the show and just talk about music and stuff for a long time. We would overhear him describing us to other people, talking about me and Jess: "They're women and they're angry and they're making good music!" It was really cute.

A Perfect Circle was very different. Their audience was a lot more accepting of us for some reason. Definitely bigger venues than I've ever played. I have a long way to go in knowing how to work a room of 8,000 people because that's totally different than what I'm used to be playing. Maynard actually invited us out to his winery. We got to experience his wine and homegrown vegetables and stuff. It was really cool.

YOUR FANS SEEM WILLING TO FOLLOW YOU THROUGH YOUR SHIFTS IN TONE. AND NOBODY REALLY KNOWS WHAT THEY LIKE UNTIL THEY SEE OR HEAR IT. That's true. And I think it makes you a better artist when you do things that people aren't expecting. It's like when I heard Black Sabbath doing the song "Changes" the first time — after hearing all their other heavy music. Them doing something so touching and intimate helped me understand the freedom to just sing whatever song is calling to you.

Faith in Gaming

Introspection of a Recovering Christian

Faith in the video game community has always been a volatile subject. In one game, the player could be standing reverently in a cathedral, lighting candles and praying in hopes of finding relief for a child dying from cancer. Another game could catapult the player into a loose version of Hell, hacking at demons that project human genitalia as a form of ranged attacks. Obviously the method for which religion is approached dramatically different between each game, but both seek to fully immerse the player in a unique experience. Video games are a multi-billion dollar industry in the United States and, despite having humble beginnings with simple arcade games such as Pong and Pac Man in the late 20th century, a number of companies, commentators, and players have begun to investigate the depths of gaming’s spirituality. There are a number of video games that portray themes commonly found in Catholicism. The three that will be analyzed are Dante’s Inferno, Binding of Isaac, and That Dragon, Cancer. Many commercially advertised games, such as Dante’s Inferno explored the visually grotesque themes of Christianity. Indie games, however, such as Binding of Isaac, and That Dragon, Cancer, offer a much more open and honest interpretation of Christianity. This essay seeks to explore whether the more widely known games such as Dante’s Inferno negatively impacts the gaming communities perception of the Roman Catholic Church and whether Binding of Isaac and That Dragon, Cancer redeems those perceptions.

At its very core, Dante’s Inferno is a story of a man seeking to save the woman he loves. The game is loosely based off Dante’s The Divine Comedy, a book that has been a cornerstone in Christianity’s understanding of the afterlife by enrapturing and terrifying audiences through it’s detailed and imaginative description of Hell. According to Wagner, “In games, play is the “space of possibility” afforded a player to explore and to make choices within the game’s systems” (Wagner, p.32). Dante’s Inferno is an example of a video game interpreting scripture with a heavy emphasis on the idea of ‘play’. In this case, play is more important than the narrative itself and this shows in the developers execution of the game. Instead of Dante being a 14th century poet that starts his journey in Hell, he is now a young crusader who becomes disenchanted with war and returns to his fiancée Beatrice in Florence. When he arrives, he finds his house destroyed and Beatrice lying dead outside. Even worse, as he approaches, Lucifer appears and steals away her soul, dragging her screaming into the depths of Hell. Dante chases them through the circles of Hell, trying to save his love before she is lost forever. He faces his own sins and mistakes before a final showdown with the fallen angel. Already we see a sharp departure from the original narrative. This in itself is not terribly sacrilegious and perhaps can be seen as developers taking creative license in order to make a story more palatable to a general audience. However, it is the games depiction of Hell and the mechanics that it borrows from Christian mythos that truly set it apart from any other action game of it’s type.

It is more than understandable for a game to have it’s mature moments, especially if it is a game based on the sins of the Divine Comedy. Dante's Inferno, however, literally pushes the Mature rating to its most extreme point, as the player passes scenes of souls being tortured, copious of violence, and plenty of male and female nudity from level to level. Obviously, this is not a game for kids, but much of what developers choose to show is appropriate for a game that tries to explore the extreme nature of Hell and its punishments. Many reviewers have expressed that they have felt sympathetic to some of the damned souls. On the other hand, there are times when the game seems to include things just for shock value such as monsters that project human genitalia as a ranged attack. The gameplay of Dante’s Inferno can only be described as a mindless gorefest similar to another popular game that came out around the same time, God of War, with pixelated blood and body parts never being in short demand. When using finishing moves on monsters, the player has two options: Punishment (i.e. smash their face in) or Absolve (i.e. smash their face in but in a ‘pious’ way). The player can perform a Punishment by destroying them with their scythe and earn Unholy points. Absolve will blast a spirit with a cross   in order to net the player Holy points. Collecting points helps you to gain levels and purchase new attacks and abilities. This may be the games attempt to introduce a moral choice system into the story which would make a certain amount of sense and would be a great benefit to the game’s overarching Christian themes of retribution and forgiveness. However, there is really no difference whether you play the game one way or the other. “It (the combat system) is more like there’s a violent option or an equally violent but better spirited option” (Croshaw, Escapist). The developers might have been setting it up for their to be multiple endings to the game where if the player has too many Unholy points they are damned but if they have more Holy points they are saved. Yet the whole game seems to be rushed in development, possibly due to time constraints, thus the end is the same no matter what points you chose to invest. The lesson this seems to teach the player is that no matter what they choose to do while on their quest through Hell, they will be saved no matter the souls they may have damned on their journey. This is not at all what Christianity preaches in its message and is not even faithful to the Divine Comedies own overall message. It’s a cheap, cheesy, blasphemy that tries too hard to be like other games of the time and teaches the player that morality doesn’t really matter in the Christian faith when mindless violence will be able to solve any problem encountered. 

Binding of Isaac takes an overall different approach. The game was a result of developer Edmund McMillen’s desire to create a roguelike showcasing his feelings about both the positive and negative aspects of religion that he had come to discover from conflicts between his Catholic and born-again Christian family members while growing up. The story of the game was inspired by the biblical tale of the Binding of Isaac and shares many themes even as it seeks to turn the traditional narrative on its head. After Isaac's mother receives a message from God demanding the life of her son as proof of her faith, Isaac flees into the monster-filled basement of their home, where he must fight to survive. The premise itself seems rather outlandish in the 21st century but it is in the subtle storytelling woven through gameplay mechanics and cutscenes that the game is able to start an honest conversation about religion. In a sense, the story is a form of fanfiction; What would it be like if the Binding of Isaac happened today? Wagner makes the point that, “Consumption becomes production; reading becomes writing; spectator culture becomes participatory culture” (Wagner, p.46). The narrative thrives because of the alternative retelling. The content can be shocking, gross, ugly, distasteful and arguably gratuitous. But, unlike Dante’s Inferno, that’s the whole point. It’s not the gameplay that is supposed to engage the player, it’s the content as a whole.

The tone and layers of the game accurately portrays growing up in a conservative religious household. The player takes control of Isaac, a young boy locked in a basement by a mother that received a message from God. Isaac must escape, fighting past monsters using his own tears as projectile weapons. The entirety of the experience is littered with scatalogical humor, blasphemy, and obscenities. The main enemies at the starting area of the game are aborted fetuses and the multitude of power ups scattered across the stages will often give the player various diseases, mutilations, or grotesque mutations. Isaac is corrupted, contaminated, mutilated, and soiled throughout their journey to escape confinement. To progress, the player must orchestrate their own defilement even as they recoil at it. However, it is the childlike viewpoint of these very adult themes that gives the game it’s unique perspective. The gross imagery needed to be childish in order to establish the irredeemably corrupt and dirty world that the player must fight through. The entire premise would be lost if the game were to try and take an intellectual and mature approach to religion because it’s not intellectual and mature religion that causes harm, it’s the pagan superstition of childhood that will leave a child scarred and feeling dirty and ashamed. In the Bible it is written, “Because of this I say to you, all sin and evil speaking shall be forgiven to men, but the evil speaking of the Spirit shall not be forgiven to men” (Matthew 12:31). If a kid is told that speaking against God will lead them to eternal damnation, they will run with the idea and spend the rest of their childhood wondering if whispering ‘I hate God’ too loud is enough to damn them forever. Conservative Christianity only exacerbates this problem, teaching children that the world is ‘unclean’ and they must guard themselves against it. The problem worsens as the child matures. 

The game is, in a sense, trying to reconcile the conservative religion with the experience of growing up in the real world. Journalist Arthur Chu had this to say about the subject, “The dichotomy of learning to be a Typical Christian Hypocrite who plays D&D and surfs Internet porn and gets to third base with your girlfriend in the backseat of a car is… yes, it is kind of equivalent to The Binding of Isaac’s narrative of trudging through a revolting world made of excrement and entrails, becoming a disease-ridden pus-oozing monster and eventually murdering your own mother” (Chu, Arthur). The game teaches the player that by surrendering themselves to the unclean, by actively becoming part of the World, they are getting stronger and overcoming every obstacle in their way. It makes the journey all the more impactful when the game pits the player, a now disease-ridden, mutilated, and mutated version of Isaac, against the final boss, the original and angelic Isaac as which the player had started out. ‘Winning’ in a very real sense meant the player had to confront their past self, come face-to-face with their own naivety and not only overcome it, but also accept that they’ve lost that pureness and become something that their past self would have thought abhorrent. And the player must decide if they are okay with that. Few games are able to accomplish what Binding of Isaac does in such a simplistic manner. It forces the player to recognize the vast difference between who they were and what they have become.

That Dragon, Cancer is an autobiographical game that documents Ryan and Amy Green’s experience of raising their son Joel, who had been diagnosed with brain cancer at twelve months old and only given a few months to live. According to Wagner, “it’s easy to see why tragedies make bad video games - the notion of alternatives (gameplay loops) could ruin the pathos and thus the catharsis of the experience” (Wagner, p.48). However, the game itself was designed to be a completely cathartic experience because the events within the game are unchangeable. Despite That Dragon, Cancer being an interactive experience, the gameplay takes a backseat in order for the narrative to develop and allow the player to become attached to the story and characters. With the player taking control of either Ryan or Amy for a majority of the narrative, the game was designed as a simple point-and-click adventure game in order to create a sense of immersion that film would fail to capture. The games developers worked closely with the couple while Joel was still alive and Ryan himself personally contributed to the games growth and success. Ryan continued to develop the game and even reworked much of the project after his sons passing in order to better memorialize and personalize the players experience. When the focus of the game is a child dying of cancer, the overall message becomes loss. The player is destined to lose and needs to lose in order to understand that loss in all its depth. That Dragon, Cancer is an enriching, story driven experience with Christian themes heavily used throughout the narrative. 

Despite video games often being viewed as a medium of entertainment lacking in poignancy, That Dragon, Cancer is one of the few games that can provide its audience with a truly cathartic experience mixed with Christian beliefs. A game journalist had this to say about the experience, “The activity on the part of the player does not change: guidance and witnessing” (Zucchi, KillScreen). In the game and woven throughout the narrative, faith is used as a presence. Players are constantly in control of different characters, usually Ryan, Joel, or Amy, but the perspective of these characters and how they are controlled is what makes the experience unique. The player is allowed into the thoughts of these people and can move them to some degree with mouse and keyboard, but they can not interact seamlessly with the images on screen. Much like the story of Job in the Bible, the player is seen as a God like figure watching a tragedy unfold. They must acknowledge the grief as it develops even as they can’t change it. However, much like Job, self-awareness does not always lead to satisfactory answers. The game doesn’t ask God ‘why’ a young child was diagnosed with cancer. Instead, it struggles to answer the question of ‘how’ God is present in these moments. In That Dragon, Cancer, faith and God are not themes or characters, but instead the presence of the player and the silences that stretch between moments of lighting candles and praying for a child’s cries to lessen. There is no battling monsters or killing demons. There is no souls to collect or reconciliation. That is not the objective of the game. The player need only reach an understanding of Joel and his love for dogs and limited vocabulary as well as the pained expressions of Amy and Ryan as they watch their son suffer. There is only the silent comfort of empathy, of the assurance of a sympathetic witness, of the promise of understanding. That Dragon, Cancer is an experience that reflects the texture of belief.

Video games have commonly been seen as a source of mindless violence, but it is in the rare, truly introspective and great video games where faith can be further explored. Games such as Dante’s Inferno poorly portray Christianity due to the industry developing games as a mindless cash grab that fails to fully expand on ideas and narratives. However, there are games that can accurately and portray Christian themes and faith. Binding of Isaac, while crude in it’s delivery, does its best to engage the player in a conversation about faith as they progress through the narrative. The game constantly poses difficult questions about religion, the world, and coming of age to the player in hopes of reconciling all three. That Dragon, Cancer provides a more subtle use of faith. Religious imagery is used throughout the story, often being used as an identity for the family, but it is in the moments of interactivity between game and player that faith truly shines. Moving forward, it’s important that games dealing with religion be carefully constructed and well-thought out. Even if the religion is being used as more of a set piece, such as in Dante’s Inferno, developers should attempt to remain true to the source material or at least try and emulate the themes and theory behind the religion being used as accurately as possible. 

Works Cited

“BibleGateway.” Matthew 12:31 - Bible Gateway, www.biblegateway.com/verse/en/Matthew%2012%3A31.

Chu, Arthur. “A Defense of Binding of Isaac from a Former Fundamentalist Christian.”Polygon, Polygon, 26 Jan. 2015, www.polygon.com/2015/1/26/7907061/binding-isaac-fundamentalism.

Haynes, Jeff. “Dante's Inferno Review.” IGN, IGN, 3 Feb. 2010, www.ign.com/articles/2010/02/03/dantes-inferno-review-2.

TheEscapistMagazine. “DANTE'S INFERNO (Zero Punctuation).” YouTube, YouTube, 22 July 2011, www.youtube.com/watch?v=_0ujx2JnjkA.

Wagner, Rachel. Godwired: Religion, Ritual and Virtual Reality. Routledge, 2012.

Zucchi, Sam. “Have a Little More Faith in That Dragon, Cancer.” Kill Screen, 22 Feb. 2016, killscreen.com/articles/have-a-little-more-faith-in-that-dragon-cancer/.

economy and women's skirt

economy and women's skirt 논문개요 I. 서론A . 경제와 여성의 치마 길이 의 관계에 대한 간략한 개요. 경제 트렌드를 반영한 패션 선택의 중요성 II. 역사적 관점 . 여성 패션의 진화와 경제 상황 과의 관련성 B. 경제적 변화를 반영하는 상징적인 패션 순간 III. 미니스커트 혁명 . 1960년대: 미니스커트의 부상과 경제적 해방 . 미니스커트가 여성의 역량 강화에 미치는 문화적 영향 IV. 미디 스커트와 경제 안보 A. 1970년대: 미디 스커트와 경제 안보 B. 사회적 신뢰의 거울로서의 패션으로의 전환 V. 맥시 스커트와 경기 침체 . 1980년대: 맥시 스커트와 경제적 불확실성B . 패션 선택이 경제적 불안을 반영하는 방법 VI. 무릎 길이의 치마와 현대 경제 현실 . 현대 패션 트렌드와 경제적 영향. 현대 경제 논의에서 여성의 치마 길이의 역할 VII. 패션의 심리학 A. 경제 상황과 관련된 소비자 행동 분석 B. 비언어적 의사소통의 한 형태로서의 패션 선택 VIII. The Impact of Social Media on Skirt Length Trends A. The Impact of Social Media on Rapid Changes in Fashion B. How Economic News Spreads Through Fashion Platforms IX. Sustainable Fashion and Economic Responsibility A. Raising awareness of the environmental impact of fashion B. Economic Impact of Sustainable Fashion Choices X. Empowering Women Through Fashion A. The Link Between Women's Empowerment and Fashion B. Inspiring Stories of Women Making a Statement Through Fashion XI. Cultural Differences and Economic Interpretations of Skirt Length A. Different Cultural Perspectives on Skirt Length B. Regional Economic Symbolism XII. Future Trends: What is the Future? A. Predictions about fashion trends related to economic development. B. How technology and global events are shaping future fashion choices XIII. Conclusion A. Summary of the complex relationship between economics and women's skirt length B. Call for reflection on the subtle message of fashion in economic discussions Article Economy and the length of women's skirts: the story of threads and economic threads In the complex dances of fashion and economics, it has been proven that the length of a woman's skirt is not just a fabric, but a subtle reflection of the economic climate and social changes. From the 60s to the present day, women's skirt length has reflected the highs and lows of economies around the world. Join us on a journey through time and hemline and explore the emotional tapestry of fashion and finance. I. Introduction . A Brief Overview of the Relationship Between the Economy and Women's Skirt Length Fashion, a silent language that speaks a lot, has long been intertwined with economic trends. The length of women's skirts, in particular, has served as an unspoken indicator of economic well-being or turmoil. B. The Importance of Fashion Choices That Reflect Economic Trends Beyond mere aesthetics, an individual's choice of clothing can reveal an unconscious response to their economic situation. In times of prosperity, hemlines can emerge as a celebration, while in times of economic uncertainty, they often return to a longer, more conservative style. II. Historical perspective . The Evolution of Women's Fashion and Its Relevance to Economic Conditions The history of women's fashion is a tapestry woven with threads of economic influence. From Victorian corsets to the flapper dresses of the Roaring Twenties, each style was a silent communicator of its time. B. Iconic fashion moments reflecting economic change Iconic moments, such as the introduction of Dior's "New Look" after the war, demonstrated a desire for renewal and prosperity. As the economy recovered, so did the hemline, ushering in an era of optimism and change. III. The Miniskirt Revolution . The 1960s: The Emergence of the Miniskirt and Economic LiberationThe The 60s, marked by social and economic upheaval, witnessed the emergence of the miniskirt. The short and bold miniskirt became a symbol of women's emancipation and economic development. B. Cultural Impact of Mini-Skirts on Women's Empowerment As mini-skirts became a cultural phenomenon, they reflected not only economic shifts but also a seismic change in gender roles. Women embraced shorter skirts as a statement of independence and empowerment. IV. Midi-Skirts and Economic Stability A. 1970s: Midi-Skirts and the Shift Towards Economic Stability As the '70s unfolded, hemlines lowered to embrace the midi-skirt—a reflection of a desire for stability and a move away from the radicalism of the previous decade. Economic stability became the new fashion statement. B. Fashion as a Mirror of Societal Confidence Midi-skirts, with their modest yet fashionable appeal, symbolized a society regaining its confidence. The correlation between longer skirts and economic stability showcased how fashion can serve as a barometer for societal mood. V. Maxi-Skirts and Economic Downturn A. 1980s: Maxi-Skirts and Economic Uncertainty The excess of the '80s was mirrored in the return of maxi-skirts—long, flowing, and reflective of economic uncertainty. As financial markets fluctuated, so did fashion, embracing a more cautious and conservative style. B. How Fashion Choices Reflect Economic Anxiety Maxi-skirts, in their length and coverage, became a shield against the unpredictability of the economic landscape. Fashion became a form of armor, offering protection and comfort in times of instability. VI. Knee-Length Skirts and Modern Economic Realities A. Contemporary Fashion Trends and Economic Implications In the contemporary era, knee-length skirts dominate the fashion scene. This length, a middle ground between the extremes of the past, reflects a nuanced response to the complex economic realities of the present. B. Role of Women's Skirt Length in Present-Day Economic Discussions Knee-length skirts represent a balancing act, mirroring a society navigating through economic challenges. The versatility of this length signifies adaptability and resilience in the face of an ever-evolving economic landscape. VII. The Psychology of Fashion A. Analyzing Consumer Behavior in Relation to Economic Conditions Fashion choices, including skirt lengths, are deeply rooted in the psychology of consumers. During economic booms, individuals may seek self-expression through bold and daring styles, while economic downturns often lead to a return to classic, timeless pieces. B. Fashion Choices as a Form of Non-Verbal Communication Without uttering a word, fashion communicates our aspirations, fears, and attitudes toward the world. The subtle language of skirt lengths, whether consciously or unconsciously chosen, becomes a form of non-verbal communication in the grand narrative of economic discourse. VIII. Social Media Influence on Skirt Length Trends A. Impact of Social Media on Rapid Changes in Fashion In the digital age, social media has become a powerful force shaping fashion trends at an unprecedented pace. Skirt lengths, once influenced by seasons, now change with the speed of a viral post, reflecting the constant flow of economic information. B. How Economic News Spreads Through Fashion Platforms Social media platforms act as echo chambers where economic news resonates. The length of skirts becomes a visual representation of economic sentiment, with influencers and fashionistas becoming inadvertent economic commentators. IX. Sustainable Fashion and Economic Responsibility A. Growing Awareness of Environmental Impact in Fashion In recent years, the fashion industry has witnessed a paradigm shift towards sustainability. With environmental concerns at the forefront, the length of skirts becomes intertwined with the broader narrative of economic responsibility. B. Economic Implications of Sustainable Fashion Choices Choosing sustainably produced skirts reflects a conscious decision to support ethical practices. This shift is not just a trend but a fundamental change in consumer behavior, highlighting a growing realization of the economic impact of fashion on the planet. X. Women's Empowerment Through Fashion A. The Connection Between Women's Empowerment and Fashion Fashion has long been a tool for self-expression, and for women, it has also been a means of empowerment. The evolution of skirt lengths tells a story of liberation, breaking free from societal norms and embracing individuality. B. Inspiring Stories of Women Using Fashion to Make Statements From Coco Chanel challenging the status quo to modern-day activists using fashion as a form of protest, women have utilized their clothing choices to send powerful messages. Each skirt length, a brushstroke in the canvas of empowerment, contributes to a broader narrative of strength and resilience. XI. Cultural Variances in Skirt Length and Economic Interpretations A. Diverse Cultural Perspectives on Skirt Length The interpretation of skirt lengths varies across cultures, adding layers of complexity to the economic narrative. What may symbolize economic confidence in one culture could signify conservatism in another, showcasing the rich tapestry of global fashion. B. Economic Symbolism Across Different Regions As fashion transcends borders, it also reflects economic diversity. Exploring how different cultures interpret skirt lengths provides insights into the unique ways economic conditions shape sartorial choices around the world. XII. Future Trends: What Lies Ahead? A. Predictions for Fashion Trends in Connection to Economic Development As we gaze into the crystal ball of fashion, predictions emerge about the future of skirt lengths. Will there be a return to bold statements in times of economic prosperity, or will a sense of caution continue to influence our choices? B. How Technology and Global Events Shape Future Fashion Choices In an era of rapid technological advancement and global connectivity, external factors play a significant role in shaping fashion trends. From pandemics to geopolitical shifts, each event leaves an imprint on the fabric of our collective wardrobe. XIII. Conclusion A. Recap of the Intricate Relationship Between Economy and Women's Skirt Length In conclusion, the journey through the history of women's skirt lengths unveils a captivating correlation between fashion and finance. From the liberating mini-skirts of the '60s to the sustainable choices of today, each era tells a unique story of resilience, expression, and adaptation. B. Call to Reflect on the Subtle Messages of Fashion in Economic Discussions As we navigate the ever-changing landscape of economics and fashion, let us reflect on the subtle messages embedded in the lengths of our skirts. These choices are not just about style; they are a reflection of our collective consciousness and response to the world around us. FAQs Is there scientific evidence supporting the correlation between skirt lengths and economic conditions? While not strictly scientific, numerous studies and observations suggest a correlation between fashion choices, including skirt lengths, and economic shifts. It's a fascinating area of study that combines sociology and fashion analysis. How can individuals make sustainable fashion choices without breaking the bank? Sustainable fashion doesn't always mean expensive. Thrift shopping, clothing swaps, and supporting eco-friendly brands on a budget are great ways to make conscious choices without sacrificing style. Do men's fashion choices also reflect economic conditions? Absolutely. Though the article focuses on women's skirts, men's fashion, including suit styles and tie widths, has historically mirrored economic trends. The concept of fashion as a reflection of society applies broadly. Are there any cultural taboos associated with certain skirt lengths in different regions? Yes, cultural norms and taboos vary widely. In some regions, shorter skirts may be considered inappropriate, while in others, longer skirts might symbolize conservatism. Understanding cultural nuances is crucial. What role does fashion play in times of economic crisis? Fashion can act as both a mirror and an escape during economic crises. Some may turn to timeless, classic styles for a sense of stability, while others may use bold fashion choices as a form of resistance or optimism. Read the full article

The Ant and The Dove | Fakhta aur chunti ki kahani |Best Short Stories for Kids | Hindi Kahaniya |

In the enchanting landscape of childhood, there exists a timeless treasure trove — the world of kids' stories. These narratives, spun with whimsy, wisdom, and wonder, hold a unique power to captivate young hearts and shape the trajectory of growing minds. From beloved classics to contemporary tales, the magic woven into the fabric of children's stories transcends mere entertainment, leaving an indelible mark on the developmental journey of every child. Let's embark on a journey into this captivating realm and explore the profound impact of kids' stories on the canvas of youthful imagination.

1. Imagination Unleashed:

Children's stories are gateways to unexplored worlds where the ordinary transforms into the extraordinary. From the mischievous adventures of curious monkeys to the magical realms where wizards cast spells, these tales ignite the spark of imagination. Through vibrant characters and fantastical landscapes, kids' stories invite young readers to dream beyond the confines of reality, fostering creativity and a boundless sense of possibility.

2. Lessons Disguised in Narratives:

Beneath the enchanting narratives lie subtle threads of wisdom and life lessons. Aesop's fables, with their talking animals and moral allegories, impart timeless truths about integrity, kindness, and the consequences of actions. Modern tales, too, carry messages that resonate with the challenges children encounter, offering guidance on friendship, resilience, and the importance of embracing one's uniqueness. Kids' stories become not just sources of entertainment but also repositories of essential values that shape character.

3. Emotional Intelligence and Empathy:

Within the pages of children's stories, emotions come alive. Characters grapple with fear, celebrate joy, and navigate the complexities of relationships. This emotional spectrum serves as a mirror, reflecting the varied emotions that children themselves experience. As young readers connect with characters on an emotional level, they develop empathy — a crucial skill that forms the foundation for understanding and relating to others throughout their lives.

4. Language Development and Literacy Skills:

The rhythmic cadence of rhymes, the vivid descriptions, and the delightful dialogues within kids' stories contribute significantly to language development. Reading or listening to these stories enhances vocabulary, comprehension, and fluency. Whether it's decoding the whimsical language of Dr. Seuss or unraveling the mysteries of a classic fairy tale, children are immersed in linguistic adventures that lay the groundwork for strong literacy skills.

5. Shared Moments and Bonding:

The act of sharing a story is a sacred ritual that transcends generations. Whether it's a bedtime tale whispered by parents, a teacher weaving tales in the classroom, or the camaraderie of friends discovering a new adventure together, these shared moments create bonds that endure. Through the shared joy of storytelling, connections are forged, memories are created, and relationships are strengthened.

Conclusion:

In the rich tapestry of childhood, kids' stories are the vibrant threads that weave together a narrative of discovery, growth, and enchantment. Beyond their role as conduits of imagination, these tales shape the moral compass, foster emotional intelligence, and lay the foundation for a lifelong love of learning. As we celebrate the enduring magic of kids' stories, let us recognize their profound impact on the hearts and minds of the next generation, echoing the sentiment that every great adventure begins with the words, "Once upon a time."

Interesting that Suzanne Collins straight up calls the propos “propaganda,” but never explicitly identifies Katniss’ symptoms as trauma. 

“Our plan is to launch an Airtime Assault,” says Plutarch. “To make a series of what we call propos—which is short for ‘propaganda spots’—featuring you, and broadcast them to the entire population of Panem.”

—chapter 3, Mockingjay by Suzanne Collins (emphasis added)

Interesting that Collins has Plutarch call the propos “propaganda.” With the Hunger Games trilogy, she set out to write a war story for young adults, and using the word propaganda seems like a signal to readers to pay attention. Propaganda often has a negative connotation, so having Plutarch use the term to describe his/the rebels’ own messaging is intriguing. (Often, when it comes from ‘our’ side it’s information, but when it’s from the other side, it’s propaganda.)

But the propaganda piece is just a small part in Collins’ war story. When it comes to propaganda, she calls a spade a spade. And yet (please correct me if I’m wrong) when it comes to the trauma that Katniss and the other victors suffer—which is an important theme throughout the trilogy—Collins never explicitly identifies it as trauma or PTSD. Perhaps she didn’t want to appear patronizing or pedantic by labeling it. Throughout the series, Collins does an excellent job of showing rather than telling readers about the aftereffects characters face after surviving a trip to the Arena. Woven into the story, we learn about Haymitch’s drinking, Katniss’ nightmares, Peeta’s flashbacks, and the ways that Annie, Johanna, and Finnick are broken, damaged people after surviving the Games. But identifying these as trauma (subtly, once or twice) would have strengthened this theme for Collins and given many readers an opportunity to relate to the characters.

In chapter 2 of Mockingjay, Katniss observes, “Right now, they leave me alone because I’m classified as mentally disoriented—it says so right on my plastic medical bracelet...” (emphasis added) As best I can recall, this is as specific as Collins gets in labeling any character’s mental health/illness—typically she focuses on describing the symptoms. (Aside from the medical discussion of Peeta’s hijacking.) I think a subtle reference or two to trauma (maybe one in Catching Fire and one in Mockingjay) would have strengthened this important theme for Collins. Calling it PTSD might have been heavy-handed or out of place, but something along these lines could’ve been effective: “they say I’m suffering from trauma from the things I saw in the Arena, from the loss of Peeta...” 

I heard on NPR this week that as many as 2/3 of young people have suffered from some kind of trauma—maybe divorce, death of a parent, or physical or emotional abuse. Fortunately, most of Collins’ young readers haven’t survived the trauma of living in a war zone, but many of them might better identify with Katniss’ plight if the author had flagged K’s experience as trauma. Children and teens often struggle with identifying or labeling their feelings. Sometimes a little cueing can go a long way and might help readers understand Katniss’ experience and relate it to their own. 

A Boy Called Christmas- Movie Review

26th of December, 2021

Happy Sunday! Today is the last Sunday of the year 2021.(Bet, you had a thought of checking the calendar, once :) ). Today's blog is going to be about a wonderfully amazing movie that I completed watching yesterday. It is ironic that I completed watching the movie 'A Boy Called Christmas', on the day of Christmas. Anyways, speaking about Matt Haig written, A Boy Called Christmas, is a book further adapted and turned into a major film that is released on Netflix this year. It is a beautifully presented and woven film that begins with an old, elderly lady(Aunt Ruth) visiting her sister's grandchildren on the Christmas eve. She narrates them a story of a boy called Nikolas, his mouse Miika and the wonderfully unimaginable magical town of Elfhelm. The struggles and hardships that Nikolas faces and surpasses depicts the underlying message of never giving up, endless courage, strength and hope.

Hope is the true jewel that is sought after in the whole movie not only by the people of the kingdom and the king but also by Nikolas and the audience as a whole who naturally pity the condition of the people during the harsh and cold days of the Winter. It is Nikolas's Father, the modest woodcutter, and the other brave men of the kingdom who decide to undertake the extremely difficult task of bringing back hope to the land, by finding their way to Elfhelm and bring back some magic with them. Poor Nikolas, feels sad while he sees his father leaving for the quest but it is not too late when he realizes that the story his mother used to tell him every night is the actually the way of finding Elfhelm, the happiest place on Earth.

It is then, his quest to find his father and inform him about this. The movie depicts the unquenchable thirst and desire of a simple boy to meet his father and help him. It showcases the importance of believing and makes us understand that nothing is actually impossible if we truly and genuinely believe in it. In one of the scenes from the movie, Nikolas is advised to believe completely to actually see Elfhelm by Father Topo which is a character that helped Nikolas to find what he was looking for.

The movie at a first glance seems to be a great fairytale or a bedtime story, but it is simply the matter of time when, we as a viewer, start unfolding the underlying messages from the amazingly symbolic and motivating scenes from the movie. The intervention form the narrative and back to real life is subtly and smoothly transited to and fro, even before the eyes and the brain can do their job and comprehend it. The addition of a Miika, which is a mouse with some extraordinarily subtle yet interesting sense of humor keeps the audience gripped to the movie.

All in all, this movie is not just another film, to be honest, it is a journey full of magic and wonder that will definitely make you start BELIEVING in MAGIC and symbolically make you realize and understand the true hidden meanings and lessons related to life; provided that, you're smart enough to unravel them and enlighten your mind and body with blossoming thoughts and beliefs.

Thank you.

-Akshat Jain.

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