Taking Pitch Black away from the Pitch Black fans until they start loving him for his actual character and not whatever sadboy fandom personality they give him.

He happily murdered people. That is a significant part of his lore. He murdered people. MiM, Emily Jane, Sandy, and Bunnymund are not the last survivors of their people for no reason. Begging people to love tragic villain characters for their tragic villainy.

On my knees begging people for actual villain Pitch content.

hiya! can yous do Mitch & 6 please ?

thanks 🩷

send me a prompt for some oblivious love blurbs ✩ Notes: weirdly obsessed with his shoulders right now

MISCOMMUNICATION

Mitch Rapp was difficult to understand; signals were crossed and mixed to the point where a blur was left behind, emotions swinging left and right as they failed to settle, and looks that were longing one second before harnessing avoidance the next. You didn't know whether he was coming or going and it pulled so much harder at your heart than you ever anticipated it would. You didn't think that falling for such a man would leave you awake at night, constant thoughts running through your mind about the things he said or did - trying to analyse their meanings, trying to find even a slither of hope that there was something worthwhile there. He made butterflies flutter, but he could also make them sink. Coldness stemming from his neutral gaze had the capacity to suddenly warm and light up the space you surrounded yourself in. He would soothe any stresses you had with his undivided attention, or leave you so utterly alone to lick at your wounds in silence. Mitch Rapp was an enigma, which both hurt and healed you. And for some reason, you loved him for it. For all of it.

You were trained to be robotic; every move was calculated to an exact second, every thought confident and assured before being acted upon. Mistakes weren't just frowned upon, they were inexcusable, and a single minuscule hair out of place was enough to brand one as atrociously disreputable in the eyes of the Central Intelligence Agency. But it wasn't until you were behind closed doors and the thrill of your mission was over, that you managed to exhale out the craziness and finally be human again. The past few days had been difficult - Portugal had worn you down, and the fresh scar draped from the edge of your ribs to the crease of your hip had only just started to heal. The skin was still raw as it sported a flushed shade of pink, but the suture that had taken years to properly perfect was holding together nicely. You had difficulty moving about, and usually, it wouldn't bother you as the mission was over, but right now you'd do anything in this moment to escape your hotel room. With squinted eyes, you cringed from the raising pitch of your partner's voice - the tone booming as it chastised you. The 'blame-game' was one that you never won, and even though you tried, you couldn't even cheat your way into the winning circle. You were underneath a spotlight and you hated it, despite only the two of you occupying the temporary living space. Mitch had started, and he hadn't planned on stopping until his point got across. "Are you out of your fucking mind!?" He yelled, the small space you sat within only amplifying the delivery even more. This Mitch was the one that you often saw clouded by cold tones and closed-off personalities. It's the one that made you walk on eggshells and question everything you had said or done priorly that day. It's the one that told you what you should have done, and not praised what you had done right. This Mitch was the one that you had first met when he had been a recruit, and all of that trauma that led him to you was still buried so deep inside his tortured heart and mind. You could never tell if he was being protective of himself, or of you. He is different to the Mitch that you saw a few days ago, however. This one was scared, frozen in place as he watched a knife aim for your stomach but instead drag down your side. His eyes had grown wide with worry as you collapsed in a small puddle of your blood, and his touch was delicate and gentle as it cupped at your cheeks and told you that everything will be okay. This Mitch scooped you into his arms and took you somewhere safe, with his own hands trembling in fear. He embodied warmth and care, and for a second you swore you saw his baby-brown eyes glaze with nervous tears. You were hastily brought back to your hotel room as you heard Mitch groan loudly, his rant continuing as he overlooked how you momentarily spaced out. Your focus flicked up to him as his hands tugged roughly at his growing locks, brows furrowed and voice raspy from the exertion, "You need to be more careful! What the hell was going through your damn head!? Everything was going according to plan and you had to go rogue? Are you fucking serious?! You could've died! " "Then why didn't you just leave me there if I'm such a damn liability then, Mitch?" You were tired. He had let you rest since the mission had been completed, successfully, but in true Mitch Rapp fashion, he still had to tell you what you had done wrong. He grunted at your comment, nostrils flaring as he seemed to briefly consider whether to continue lashing out. You watched as his left hand balled into a fist, veins protruding up the back of his hand and over his wrist, as he channelled his emotions into the tension of his curled hand. The man eventually released the hold after his knuckles grew white, only to point a stern finger in your direction, "I never leave people behind. I especially would never leave you behind, don't you ever say that."

Your head shook as your tongue clicked, perplexed over his conflicting temperaments, "I don't understand what you want from me!" Your own voice rose, surprising Mitch as much as it did you as you both jumped ever so slightly. The room fell quiet for the first time since he barged through your door. The shrill of your voices had died and was instead replaced with heavy breaths and a staring contest between two sets of sad and confused eyes.

Mitch tilted his head in bewilderment, an ask for you to elaborate before you continued with an exasperated sigh, "It's always Good -Cop Bad-Cop with you. One minute, you can be the sweetest man I've ever met who would do anything to make me laugh, or smile. And then, other times y-you're just a whole different person, like all of your walls are suddenly back up and you have a fucking grudge against the world like a goddamn moody teenager!"

"What the hell are you talking about?" He was taken aback, voice leaving breathless as he took a tentative step closer to you. Not that he could pretend - Mitch knew that the hot-cold treatment was cruel, but he couldn't help it. Emotion to Mitch Rapp usually held a capacity for pure anger and revenge, but being with you allowed him to open up to many more possibilities. It terrified him, and he had been in such a slump for so long that he didn't know what to do. But he did need you, he needed his light.

"Just tell me what's going on, Mitch! Because it's so fucking hard to read you sometimes and it makes me want to tear my hair out and scream -"

"I LOVE YOU!" His voice echoed once more, the sentiment ringing through the enclosed space. Whisky-coloured hues glazed as his heart became exposed, laying out raw for you to see. Your expression harnessed shock and the lack of response made his laugh hollow and brittle. Mitch shook his head, focusing now on the scruffed toes of his shoes, "I'm in love with you. I thought you knew - "

"No, I didn't." You managed to say with whispered words, observing how the usually confident man in front of you now sank and closed in on himself. He was shutting down, drained from your fight and from the roller-coaster of the past few days. He already thought he was going to lose you when he felt the fresh warmth of your blood run through his fingers only a mere few days ago, but now, he might've just lost you as a staple in his life for good.

Silence had returned, yet it rang the loudest of anything else within that room that night. You had always expected that you'd fall for Mitch Rapp - how could you not? He had his moments of hilarity, amusing you when things got a bit dim or when mischievousness wove itself into his boredom. He held passion proudly like a medal when his interests were at play, showing just how he can truly immerse himself into hobbies or things that he liked. He was tough, both mentally and physically, and it was admirable to see how he would always stand up after being knocked down. He was also sweet when he wanted to be - even when he was raising his voice, purely exposing his protectiveness. Plus, he definitely wasn't bad to look at either.

What you didn't expect, however, was for him to have fallen for you, too.

"I hadn't even thought of loving anybody after Katrina died." His voice broke the barrier, eyes still peering down. Mitch drew a breath, his exhale shaky as he tried to gather himself, "I mean, I always seem to lose the people I love, and she was the last straw." The man cleared his throat as his hand ran back through his already teased hair, his stress evident, and he suddenly peered up at you, "Until a pain in my ass was elected my partner, and became so incredibly annoying that I began to find it endearing. Before I knew it, I was dreaming of life after all of this agent bullshit, married with kids, the whole white-picket-fence ordeal. And we were so damn happy."

A sweet smile shone his way through quivering lips and matching teary eyes. You held out your hand, desperate to have his hold ground you as Mitch's fingers slid between yours and he squeezed with complete adoration.

He licked his lips, "I'm sorry for yelling. I was just scared that I'd lose you, like I did the others. Because if anything happened to you, sweetheart, I swear - "

"You'd burn down the world?" You interjected a small chuckle from Mitch solidifying your correct choice of words.

"You have no idea just what I'd do for you." His other hand reached out to push back the small strands crowding your forehead, calloused fingertips never feeling so soft against your skin before. "I thought it'd be easier to shut you out, if I'm being honest... If I didn't love you, then it wouldn't hurt. But let's be fucking real, that's just impossible."

Pieces fell into place with perfect precision the moment your arms secured around his neck, your nose pushed into his shoulder, and his grip securing tightly around your waist. This moment was one filled with clarity and understanding, a mutual passion that cleared the air and prompted harmonising beats of hearts against two flushed chests.

"I bet it'd be even more impossible, since I love you, too." Your voice muffled against the worn cotton of his shirt, but Mitch heard you. His shoulders sunk in comfort, arms tightening even more, and the light of his life growing brighter with each and every passing second.

Biden goes positive. Can voters handle it?

Jennifer Rubin discusses Biden's new positive ad. If the question is, "Can voters handle" Biden's positive ad, the answer is, it's about time the Democrats told the story of Biden's successes to counteract the relentless disinformation about Biden coming from the right.

But even more important than that, Rubin brings home the fact that neofascists and demagogues NEED people to believe that their nation is falling apart and ONLY the Dear Leader can fix it. That's why it is particularly important to counteract Trump's and the GOP's dystopian disinformation about America under Biden.

Here are some excerpts from Rubin's column.

Biden’s ad, “Fought Back,” reminds us how bad things were under his predecessor, touts Biden’s economic accomplishments and accuses Republicans (while displaying Trump’s picture) of running America down. A list of bipartisan accomplishments, such as the bipartisan infrastructure law and the Chips bill, refutes the notion that the United States is paralyzed or incapable of solving its problems. [...] This message embodies Biden’s endemic optimism: “We just have to remember who we are. We’re the United States of America. And there’s nothing — nothing beyond our capacity — if we do it together.” Moreover, it rebukes Trump’s negativity, in effect saying: Refusing to credit the improvements in the economy is tantamount to slamming Americans and discrediting their hard work. (The ad shows Biden delivering one of his favorite lines: “It’s never, ever been a good bet to bet against America.”) [...] Biden stands ready to explain how his agenda — “Bidenomics” — brought us from fears of a pandemic recession to recovery. With unemployment and inflation in decline and wages rising, the public finally might be more amenable to hearing an uplifting message. Biden would be foolish not to take credit for gains achieved as a result of smart policy and bipartisan legislative wins. However, Biden’s ad does something more than present an economic argument. He’s asking a larger question: Do we really want to go back to the trauma of the Trump years? He is betting that voters, even if they are uncertain about the future, don’t want to wallow in anger, fear and pessimism. He offers not only a choice between two policies but also two different visions, which are miles apart in tone. [...] Historians tell us that fascism arises in a mood of “cultural pessimism” that fosters a demand to entirely remake government and casts the authoritarian strongman as a messianic-like figure who can arrest decline. Without cultural, economic and political ruin and ensuing panic, there is no crisis to quell. By contrast, if a democracy is producing real gains and people see improvement, voters will be less inclined to throw the entire system overboard to follow the cult leader. No wonder hyperbole, fearmongering and hysteria are part and parcel of the MAGA message. [...] For Trump, the present is always bleak; hence, we have to go back to the past to make America great again — and rely on him to fix things. Biden, therefore, has the task of not simply correcting the economic record but also of diffusing — perhaps mocking — Trump’s excessive negativity. Things are bad for Trump, but they need not be bad for the rest of us. We’ll be just fine if we keep our heads about us, look at the facts and trust in ourselves. That’s not a bad pitch for Biden or, for that matter, any democracy trying to ward off a hysterical demagogue. [color/emphasis added]

Blackbeard's musical theme S1 vs S2 observations

I've been rewatching the show recently to find the scenes where Blackbeard's Theme is used, and here are some observations I can share with those interested. I'm not going to get technical or anything, just pinpoint some things I found interesting in the use of that theme in the context of the show, the characters, and the scenes it appears in.

Just so you have it in your ears, this is Blackbeard’s Theme. When I searched for scenes, I was looking for a specific leitmotif that derives from the very beginning of that linked song: the 3 held, rumbly, low notes (E, G and D#/Eb in that order), or a variation of that pattern. In the show, this main theme is often followed by strings playing a high-pitched sustained harmony with fast repeated notes (that or maybe these are long slow strokes with lots of vibrato, you tell me, I don't play a string instrument).

The theme is meant to be menacing.

My observations under the cut, sorry it's a little messy!

- Season 1: the theme is introduced by Izzy in A Damned Man and last heard in a scene with Ed in Wherever You Go, There You Are. The theme is never played for anyone else but them throughout season 1.

- Season 2: the theme is reintroduced by Ed at the wedding in Impossible Birds, and we last hear it at the beginning of Izzy’s death scene in Mermen.

- Contrary to season 1, the theme also appears with the crew when they are fighting with each other in Fun and Games, and with Lucius when he's alone and holding the wooden shark in The Curse of the Seafaring Life. The theme we hear in the scene with the crew is a variation from the original theme.

Some analysis could be drawn from this, such as Blackbeard's poison leaking out of Izzy and Ed and contaminating the crew and reflecting in the way their trauma is portrayed on screen. The theme being heard with lucius is particularly interesting to me, though I'm still trying to form my analysis of this. Maybe because the shark is a physical embodiment of Blackbeard to Izzy? And thus the essence of Blackbeard is transferred to that wooden shark? Who knows, your guess is as good as mine.

- Season 1: the theme is in 21 scenes in 5 episodes only (2,3,4,6 and 10). I’d argue that Izzy is the driving force of the theme in at least half of these scenes (12/21 vs Ed 9/21) as he carries the threatening essence of the theme.

- More than half of those appearances are in only 2 episodes: The Art of Fuckery (7 scenes) and Discomfort in a Married State (5 scenes), but never less than 3 scenes per episode for the other episodes.

- Season 1: we don't hear the theme in The Best Revenge is Dressing Well, This is Happening, We Gull Way Back and Act of Grace. It's interesting to note that, apart from Act of Grace, Izzy and Ed don't interact at all in those episodes.

- Season 2: 14 scenes in 6 episodes (1,2,3,4,5,8). The theme centers a lot more around Ed. At first because he's lost in the persona of Blackbeard and carries the threatening essence of the theme, and then because his fractured vision of himself is mending back with the Kraken and Ed to become one by the end of the season.

- 11 of those scenes are in 3 episodes: Impossible Birds and Mermen (4 scenes each) and Fun and Games (3 scenes). We hear the theme in only one scene for the other three episodes.

- Season 2: similarly, we don't hear the theme at all in Calypso's Birthday and Man on Fire. Maybe signifying the healing amongst everyone involved with Blackbeard? Ed is turning poison into positivity and the crew is healing and embracing him back, and similarly Izzy is embracing his own self-discovery rather than focusing on Blackbeard. In Man on Fire, Blackbeard seems to have become something of the past, especially symbolised with Ed throwing his leathers in the ocean.

- Season 1: the theme is recognizable from one scene to the other, sometimes changing the melody of the motif a little bit, sometimes it’s instrumentalized a little differently (a piano instead of a cello for example), sometimes the motif is only one or two notes, but it mostly stays the same throughout the season.

- The only two times I can think of when the theme is the most “different” is in 1) The Art of Fuckery, when Ed is doing a fuckery with fireworks and descending from the sky with a harness. There, the theme mirrors the theatricality of the scene; 2) the very last time we hear the theme in Wherever You Go, There You Are, when Ed keeps Jim and Frenchie on his crew. The theme is sped up, more colorful and rhythmically more dynamic. To me, it symbolises the change in Blackbeard's persona as someone a lot less stable and more dangerous.

- Season 2: still mostly the same theme but it shapeshifts a lot more. The range gets broader, getting more and more high pitched, to the point of being shrill at times, which contrasts a lot with the low, rumbling sound of the cello we're so used to hearing, the main melody has more variations (with the crew in Fun and Games, with Izzy in Fun and Games and Mermen) and it even appears very distorted when Buttons is talking to a bound Ed in Fun and Games. Interestingly, the theme appears in more distinctly different variations in Fun and Games than any other episode, when every one is dealing with the brunt of their trauma.

- Season 2: when Ed is pointing his gun at the crew then at himself in Impossible Birds, the theme is the most shrill we've ever heard as the tension rises, with the same sustained harmony from the original motif played at a very high pitch and doesn't cease to be played until Izzy yells and the music completely stops. It picks back up once Ed shoots him, and the lower range of the theme emerges as well with the shrill harmony.

- Season 2: When we hear the theme with Ed by himself in Mermen, it's never heard on its own anymore. We hear it partnered with the Kraken theme and/or Gnossienne n°5. BUT the theme is pretty much in its original form and at that point in the season, we haven't heard it like that since Impossible Birds (if I'm not mistaken).

- Season 1: This happens only once, where the echo of Blackbeard's theme quickly morphs into Gnossienne when Stede realizes that maybe Ed does fancy a fine fabric in Discomfort In A Married State. (And no, I’m not taking the Kraken Theme followed by Gnossienne in The Art of Fuckery into account, as I’m only focusing on Blackbeard’s Theme here).

- Season 2: Let me also point out that we don't hear the theme with Ed after his discussion with Buttons in Fun and Games, and it's so fractured and distorted that it's hard to recognize at all. We hear it with the crew, Izzy and Lucius but not Ed until Mermen. And it comes back in Mermen following Pop Pop telling Ed to go back to what he is good at. This time however, what he's good at is not only being Blackbeard but channeling all the parts of himself to protect others.

- Also, as mentioned before, Izzy has a strong connection to the theme in season 1 but not nearly as much in season 2, if at all. The theme really is his in 2, arguably 3, scenes even though he is present in more than those two scenes (6/14). Now this is my interpretation, you're free to make your own, but I tend to analyze this as him losing control over Blackbeard, especially at the beginning of the season where we can see how he doesn’t know how to stop the spiral Ed is in. Izzy wanted Blackbeard and not Edward but it resulted in him having neither. And the disappearance of the theme with Izzy also symbolises that, Blackbeard doesn’t belong to him anymore. It's even more clear when we consider how Izzy was a driving force to the theme in season 1 or at least Ed and Izzy shared the theme somewhat equally -though in Izzy's favor (12 for Izzy, 9 for Ed)-, yet in season 2, 9 scenes out of 14 are all Ed compared to Izzy's 2/3.

- When the theme is heard with him again, Izzy is at his lowest point mentally. He's lost his leg and throws the unicorns ones to the feet of the crew before falling down and crawling away while the crew watches him move away with concern and pity. I personally think the theme coming back in that moment is some sort of reckoning for Izzy, and the theme is a variation of the original one too. Izzy fully faces what pushing for Blackbeard to keep existing cost him and he's having a hard time coping with it.

- The last two times we hear the theme with him after that, are: when he talks to Ricky, and the theme turns almost positive, hopeful even, maybe Izzy is allowing Blackbeard to be something positive instead of negative, paralleling Ed doing the same as he embraces all the parts of himself? Then, as a last echo, the final nail in the coffin so to speak, the theme shows up at the very beginning of Izzy's death scene. Here, the theme is higher pitched than the original version of it, and feels tight, strained and weak, almost paralleling Izzy holding onto life.

Feel free to draw your own conclusions if you even read all of that. That was a lot of rambles, sorry!

A thread of stuff I remember from Brian Ruckley's IDW2 retrospective panel from TFNation this weekend, in no particular order:

• Brian scoured the TFwiki for all the female TFs that he could use; he was very clear on presenting them as a normal part of TF society from the start, no weird 'explanations' needed

• He planned out the main story beats he wanted to hit in his head, but didn't make extensive notes or anything

• If it hadn't been truncated, the Exarchon plotline would have - pending Hasbro approval - dealt with the Quintessons and their region of space, cut off from the rest of the universe. They wouldn't have been involved with Cybertron's origins

• He praised the work of all the artists but in particular Anna Malkova, who he considered the best thing to come out of IDW2 and particularly impressive for moving from artwork to comic storytelling

• Flamewar was an obvious favourite, one of many characters without much existing fiction which allowed for more freedom

• One of the main themes of the series was trauma, embodied in characters like Cyclonus and his ghosts

• Geomotus and others showed that neurodivergence exists in Cybertronians; he wanted to show that there was a variety of ways in which characters could see the world

• The Technobots annual was condensed down from a full story arc which would have featured the Terrorcons; the Technos were chosen as Brian's favourite combiner team

• He didn't want loads of combiners running around too soon, hence the Enigma being thrown into the sea; it would have resurfaced eventually

• He considered one of his biggest weaknesses to be that he didn't make individual issues read as well on their own rather than 'in the trade'; he hoped that he had gotten better at it as the series went on

• Favourite TF character types included female transformers and teleporters; he wanted Skywarp to be a trickster-type figure

• As the series went on Starscream would have remained neither a true Decepticon nor in any way an Autobot, trusted by no one and yet charming/threatening/maneuvering them into keeping him around

• A continuing theme would be the gap between how Cybertronians see themselves and how other species view them; organic planets would consider these giant robots terrifying

• He doesn't consider himself good at big shock reveals and doesn't like bait-and-switches, so tried not to do either during the series

• Despite the long-form storytelling aspect of the book, his personal favourite issues were the one-shots that divided each story arc, like Wheeljack on the moon

• The senate attack that kicked off the war in earnest was originally meant to come earlier in the series

• He didn't originally know that the continuity was being rebooted when he was asked to pitch for a TF comic; there was a lot of back-and-forth at the start as Hasbro kept adding requests

• The series would have gotten to humans eventually, although Brian wanted the TFs to encounter them already in space rather than on Earth

• He enjoys writing comics more than novels, and would happily do only the former if given the chance

• He needed a science-related TF to be the initial murder victim; he sent a shortlist of names to be approved and they chose Brainstorm

• Hasbro did not want too many original characters created for the series; the ones he invented were all done so because they were integral to the narrative

• Once they were told about the license being lost, Brian made a conscious decision not to kill a bunch of characters off before the end; he thinks that it would be too cynical, and that deaths have to serve a contextual and narrative purpose to be meaningful. He also recognises that every character is someone's favourite, and now they can imagine the adventures they might have in the future

All in all, a really interesting and honest panel! Thanks to Brian and all the artists for my favourite TF continuity ever; RIP IDW2

steph as nightwing??? 👀

Yes, a hundred times yes. 

For me, the idea came out of this meta that @benbamboozled did ages ago (that I for the life of me cannot find now :( ) about how Barbara should have been the one to mentor Tim, but she wasn’t because dc (and superhero comics generally) are too cowardly to let a female superhero mentor a male hero. And it got me thinking--there were three “older” vigilantes and three younger vigilantes in the Batfam at this time, which then led to the whole Barbara mentoring Tim, Bruce babysitting Cass, and Dick mentoring Steph. Which would then eventually lead to Steph taking on the Nightwing mantle.

Nightwing!Steph was also an idea I had regarding the Batman!Dick era and the Tom King pitch of Tim becoming Nightwing during the Ric Grayson arc. In my delusional AU idea, after the “death” of Bruce, Dick would be Batman, Damian would be Robin, Barbara as Oracle, Cass would return as Batgirl after a short hiatus or be Black Bat, Tim would be Red Robin, Jason as Red Hood, and Steph would take over the Nightwing mantle while also attending college (a similar start to Dick’s own trajectory).   

I don’t have like a full meta on this (and I haven’t read everything regarding Steph so please correct me if I get something wrong or the vibes are off!), but I think Steph could be a worthy successor to the Nightwing mantle if there were a point in time where Dick moved on or couldn’t be Nightwing anymore. 

I think Steph embodies a lot of the same ideals and values that Dick/Nightwing resembles: hope, determination, and guts. There’s also the immediate similarity of the two of them being more light-hearted and quippy compared to the other Bats, which (almost) hides how capable and competent they are, but also how this happy-go-lucky mask hides anger and trauma.

Both of them had the guts to go out on their own, to create their own mantle and mask despite being told “no.” They both have the drive and determination in their actions to help others and stop criminals, and an innate need to be a hero/vigilante and that they can’t stop being a vigilante. And out of all the Bats, Stephanie has the most potential to represent hope, just as Dick does. 

To me, Steph has all the criteria to be one of the best vigilantes in the Batfam, but just doesn’t get the opportunities to do so. She’s got the foundations and the materials, she just needs help getting there. Being Nightwing (or being mentored by Dick) would give her the chance to showcase that. 

Being a vigilante that has ties to the Batfam but isn’t necessarily considered a sidekick character or in need of a mentor (like Batgirl or Robin), Steph could grow as a person and a vigilante with the Nightwing mantle. Nightwing is also a key component to the Batfam and is often the middle ground between the smaller groups within the family and I think Steph can easily step into that role, especially given her past relationships with Tim, Cass, and Barbara, her similarities and the trauma-bonding she does with Jason, and the older sister-younger brother relationship with Damian. Not to mention, Nightwing’s role as a leader in the Titans, which would give Steph a chance to show her capabilities to be a leader. But, Nightwing is also a stubbornly independent loner, a solo-act vigilante. So, not only can Steph be an important team player (in the Batfam and the Titans/equivalent team) but she'll also have the freedom to do her own thing. 

Nightwing (imo) was all about moving on, growing up and maturing on your own, and while Dick might not have realized what it would become later on, it’s grown to represent hope, the “universal constant,” and creating your own legacy. The transition from Robin to Nightwing is all about this, and I think this transition would have made a lot of sense for Stephanie (Spoiler to Nightwing = growing out of her anger towards her father but also growing out from underneath Batman/Batgirl’s shadows). I think there would still be issues and insecurities of Steph living up to a predecessor, similar to when she took on the roles of Robin and Batgirl, but I want to believe that Dick would train her well enough and his own belief in Steph taking on his mantle would alleviate these problems. 

There’s a lot of AU potential with Stephanie being Nightwing (I’ve got a few myself 👀), but canon wise, I don’t think we’ll see Dick move away from the Nightwing mantle ever. I think you could probably make a good argument for Steph to be Flamebird in canon and really introduce that mantle back into the Batfam (and her and Bette can bond over terrible mentors/families, being Batgirl, and being rejected).

I've got some more thoughts circling in my head about Dick mentoring a Spoiler!Steph, but I've kind of touched base about that here so I'll leave that for another time lol

thanks for letting me ramble about this idea<3 <3

I think what strikes me so much about the scene between them after she finds out he’s the supposedly-dead Crown Prince is twofold: how quiet and how gentle the scene is and how quiet and gentle the two of them are. There is none of the “how could you not tell me?” “argh you found out!” These two are honestly just nice people - magic powers, fancy clothes, and what not, the quality that strikes me the most about them is their decency but also thoughtfulness. In a way Shi Ying is a living embodiment of rejection of everything Xuelu the Awful relies on as self-justification for her her gross cruel solipsism - he’s had a horrible childhood trauma, way worse than Xuelu’s and somehow he has managed not to use it as a justification to become a bastard.

They are so darling!

I may have emitted high-pitched noises.

He really needed to hear that from someone - that it’s good he’s alive, that he’s not liked for his blood or for position or what he can do (hi there creepy mentor!) but just for being who he is instead of what he is.

King of the Monsters

Godzilla Minus One is a goddamn masterpiece. It is the hype. If you have the opportunity to see it, definitely make that happen in the biggest screen possible. I saw it in XD and it was just a regular ass experience f*cking amazing. Bro, Godzilla Minus One has no right to be as good as it is. No hyperbole, as a film, it's arguably the best one I've seen all year. Like, it gives Oppenheimer a run for its money in terms of quality film making. The performances are all strong as f*ck, the direction is some of the best I've seen in years, the writing is pitch perfect, and the cinematography was breathtaking. You fully understand how massive Goji is when it does what it do. The mind-boggling scale really comes across more so in the film. than any of the Monsterverse joints, But that sound design is what does it for me. Whoever mixed this film knew exactly what the f*ck they were doing because that Main Theme hit hard as f*ck! You hear that familiar, yet, wholly original take, three times in this film and, every time, it's a gut punch.

Godzilla films are at their best when you have an emotional anchor. That's why the Monsterverse films have all sucked past the Bryan Cranston bits of the 2014 flick. No one cares about Millie Bobby Brown or that weird jungle kid who's friends with Kong. They're props for the monster fights, which is a stark contrast between how we, in the US, see Goji and how the Japanese see it. For them, and this film really drives that home, Godzilla is a force of nature. He is the embodiment of a cultural trauma that has scarred their people for damn near a century. We, as Americans, cannot even begin to broach something as unimaginable as falling victim to an atomic bomb, so we can't make films which resonate like that. To us, Godzilla is just a cool ass monster, like Frankenstein or King Kong, and we approach the character like that. We, culturally, do not understand how to make a "good" Godzilla film but the Japanese sure the f*ck do. They've done that a few times back in 1954, again with Shin, and now with Minus. You care about these characters. You want them to live. I can't say that about any US Godzilla media, outside of Bryan Cranston's character who f*cking dies in 2014.

To summarize, the hype is real. Godzilla Minus One is a goddamn masterpieces. See that sh*t on the biggest screen possible, with the best sound system available. Legitimately the best theater experience I've had all year. It' a solid f*cking movie, outside of Goji, himself, and is a strong character piece in it's own right. I have, as a Godzilla fan, we have been eating this Holiday season. Minus One is everything you have hear, the Monarch show has been brilliant, and, we got the trailer for another dumb, neon drenched, Monsterverse Goji flick. Or rather, Kong feat. Goji flick. I really, really, enjoyed Minus One. It's easily top three Godzilla content for me. I'd put it right after the 1954 original and a solid 2B with Shin being 2A. I would not be surprised in Minus One ended up taking home the Best Picture Award at the Japanese Academy Film Prize, just like Shin before it. Minus One really is just as great a film.

hiya! i think we accidentally introjected bun from the comfort cottage system post and was curious if you had links that have the definitions of buns programing or if you could share the definitions? We wanna know so we can avoid triggering bun on accident!

haiiii ill list the programming here!! just give me minute lol, a lot of sx trauma with bun

princess program, programmed to be the embodiment of feminine, cleans, cooks, and serves men

doll program, The subject is given a doll that is made to look like them. The subject is taught to project their feelings onto the doll. Due to the doll looking like the subject they are projecting on to themselves. The programmer will place the doll in positions and have the subject ‘abuse’ the doll. The subject is trained to assume the same positions so they can be abused.

epilson program, Is the programming of animal alters into the subject. Epsilon programming is used to create animal alters, which is thought to be the key to paranormal or superhuman abilities Epsilon Programming elements are often added to other forms of programming to increase the effect in a specific direction.

go insane program, Defence programming. Subject my feel as if they are hearing voices, depression, echoing, high pitched frequencies, spiders and crawling sensation on skin, distorted vision, and other sensory distortion.

isolation program, broad term for any isolation related programming. this can serve several purposes (such as parts locked up in insys wards, self isolating omega parts, parts convinced they are sick and must keep away from others to not infect them, etc).

jewel programming, The jewels are used as reward based programming. Training for this program often begins between ages two and three. Each step of obedience is linked to receiving a jewel. To earn the designated jewel the subject must: a.) show sexual adeptness b.) Pass programming tests c.) Be rewarded for special achievement (fighting, survival) d.) be adept at games e.) show heightened intelligence f.) attributes of trauma bonding g.) Show betrayal skills

abbreatiction program, Gives the subject topics to talk about in therapy or with other outside individuals who may be attempting to assist the subject.

color programming, alters are assigned colors (bun is pink)

baby talk program, what it sounds like, bun is programmed to talk like a baby/little

beta program, broad term for any sexual programming (kink based parts, parts that are sexual perpetrators, parts that exist solely for sexual services, etc).

chi program, “return to cult” is programming installed in order to get subjects to reassemble a packaged ideology or religious belief. It is the equivalent of “calling in” or “coming in” in the language of secretive intelligence agencies, and it will make a sleeper subject return from any level of ideological digression or apathy to core beliefs they may not even be aware rules them.

Let's talk about how fantastic Jenna Coleman was as Johanna Constantine and Lady Johanna Constantine in The Sandman!

Be warned: spoilers! But as it has been 2 weeks since it has come to Netflix, I hope most of you will have had the chance to see it by now. And if not; what are you waiting for?

This is a very unique role, the likes of which Jenna has never played before. Which makes it all the more amazing to see with what ease she embodied both Johanna Constantines. In the roles, she has such a powerful presence, she commands the screen, she immediately captures your attention and interest, and never lets go of it. She has such a lasting impression!

Just from the way she looks at other characters, you can immediately see who the boss is. It doesn't matter if you are an immortal. It doesn't matter if you are an Endless, the Lord of Dreams. It doesn't even matter if you are a demon from Hell twice her size. She knows she can, and will send you back to Hell if there is a profit to be made. Jenna really embodies the badass you really don't want to mess with.

Her reactions to meeting Dream, or performing the exorcism on the princess and her fiance (who turns out to be a demon) really showcase her amazing talent. She's tough, foul-mouthed, not impressable, and above all, incredibly awesome! I don't think anyone could look even remotely as cool as Jenna in the role of Johanna when saying the likes of "Get in line bruv, can't keep God waiting!", "Jesus fuck", or "Run along and fuck off back to hell", to name a few.

But what is brilliant about the way episode 3, "Dream a Little, Dream of Me" is told, is that we also get to see who Johanna really is, underneath all that defensive armor of deflection, badassery, and swearing. Once again, a single frame is enough for Jenna to show how strongly the trauma of the Newcastle incident affected Johanna:

Jenna also showed her acting ability through the way she set up her characters, not only in the way they interacted with others, how they carry themselves, how they style themselves, but also how they speak. Jenna always develops unique ways of speaking for all of her characters, and for The Sandman she took on a deeper pitch, to correspond to Johanna's history of smoking. She also distinguished between Johanna in the present day, and her memories of the Newcastle incident. Her story starts off with her in London working-class roots, and so she has a Cockney accent in all the flashbacks. But we learn that she has since moved up the ranks, earns money for herself, is trusted even by the Royal Family, and wears very fashionable clothes. To mark this difference, Jenna moulded present-day Johanna's accent to be posher, with only little traces of her Cockney roots left.

Not only does Jenna brilliantly portray Johanna's tough mask that she wears in public, she also depicts her soft true feelings. You can see the fear in her eyes when she knows she must meet Rachel again, the relief of reuniting with her on more or less good terms, followed by her despair when she sees how Rachel collapses into a mound of sand, and is actually on the verge of death. We see how this triggers a very different response from Johanna. She has come to understand Dream, and has accepted that there are things that she cannot do herself. And it is this realization that enables her to be so influential for Dream, for her message to him to resonate so well.

Jenna's portrayal of the complex range of Johanna Constantine is amazing throughout all her numerous traits. Jenna has yet again shown what an incredibly versatile actress she is. She is working class in the flashbacks. She is cool and tough when necessary. She is sensitive and emotional when necessary. She has such an amazing, and such powerful backstory.

Similar statements can also be made about Jenna's portrayal of Lady Johanna Constantine in The sandman episode 5 (The Sound of her Wings), even though we have only seen it very briefly so far. She yet again developed a unique way of speaking for the role. She is also very confident, but of a different nature; she still wants to have bodyguards supporting her in the direction that works for them.

The dedication Jenna brings to this role is truly amazing. She only had a major role in one episode, one small role in another, and tiny appearance otherwise. But she still went to so much effort to make each character unique, and stand out. Her performances cover a large plethora of not only characters, but character traits as well. Jenna portrays it all so effortlessly and convincingly. It is always amazing to watch how vividly she brings her characters to life.

I gladly join the chorus asking for a new spinoff show for Jenna Coleman as Lady Johanna Constantine! Jenna's portrayal of the role is so amazing and enthralling, that it would be really fantastic to see her again. Go and watch it (again!) right now!

@neil-gaiman thank you for casting Jenna in these roles.

I’ve nearly made it through season 3 and have constructed mostly concrete opinions of the ghosts, but they’ll probably change by the time season 4 is out soooo take it with a grain of salt. 

Julian

Every one of the ghosts has their own kind of humour and depending on how they mesh makes for great dynamics. Julian is definitely the more straightforward and dirty kind of humour which makes me laugh, partially due to Simon’s voice alone. 

Regardless of how funny he is, what really made me like him was the Christmas episode, seeing him enjoy spending time with something as innocent as a child makes you wonder what he’s like under all the sex jokes. 

Plus I love that his way of being comforted when he became a ghost was playing chess with Robin, it started as just another thing the ghosts do but eventually becomes something important to Julian as a character. 

Pat

Pat is one of the ghosts I feel the most sad for. His death must’ve have been so terrifying as he’s trying to drive, get back to his family, not traumatise his scouts, meanwhile he’s choking on blood. He seems to forget he’s a ghost more than anyone, going to interact with people and saying he’d going to drink in the shed when he can’t. He has to watch his family every Death Day visit him and he can’t say anything, or confront Carol on her infidelity. 

On a less depressing note, his strong accent at times is hilarious and I love his higher pitched voice. He’s so sweet yet so dark and his interactions with Cap are wonderful. He’s had some of the funniest lines in my opinion and he’s overall a really nice guy, I’d probably pick him to haunt me. 

Mary

I don’t think I even know enough about Mary to gauge a real opinion of her. She has really good moments and her interactions with Kitty are always quite endearing but her character hasn’t been fleshed out enough yet for me to like her. I don’t hate her, just don’t feel excitement when she’s on screen. The only jokes I can remember of hers are about witches or Satan and it is funny but I want more of her. 

Thomas

I didn’t know how to feel about Thomas at first, I kept waiting for him to come to the realisation that Alison wasn’t going to work out for him but he seems to be stuck, which is partially due to his own trauma. His actions were weird at times but I don’t think that’s ever his intentions. He just wants to be noticed, loved and appreciated, all the things he missed out on. I’ve started liking him more since the episode that explained his death, because it was quite tragic.

He’s abandoned out alone, bleeding out, waiting for the love of his life that never came. It explains the way he acts. Mat really makes the character way less creepy and more heartbreaking. He has to live with the betrayal just as Pat does and I feel bad for the him. But he needs a new profession man sometimes you gotta let the poetry go. 

Robin

I never know how to feel about Robin, he’s under-utilised in some situations but I love how he’s the wisest and able to comfort the other ghosts despite being considered less intelligent, he’s smart in his own right. I’m hoping for an episode about his life and death but without them he’s still quite a good character. His unexpected friendship with Julian really makes him more interesting, because it shows that in the group they do have genuine bonds.

It’s shown that they are all kind of stuck together and can’t do anything but interact, Robin shows fondness for them and really it makes them more linked if anything. 

Kitty

I’m mostly just really anxious as to what could have possibly cause Kitty to die. She’s so sweet and innocent and oblivious. Captain is a surrogate dad in a way and it’s probably one of the sweetest relationships in the show. I can relate to being slightly irritating to some people. Kitty embodies so much innocence despite being one of the oldest ghosts and it makes me wonder what kind of life she had. 

Humphrey

I thought he was gonna be way more prevalent because of the amount of fics involving him that exist. That being said, every moment he has really makes it worth waiting for his spotlight. Him telling his wife to go have a better life made me genuinely love him so much. He may have hidden in the fireplace but he held off for her despite not really liking one another. The way she kissed his cheek wasn’t an admission of love but more a sign of platonic care. 

Overall, he’s just a really kind guy who’s surprisingly chill in his circumstance. Also, his whole joke with the Captain and the Mr Cheese thing genuinely made me laugh. 

Fanny

She’s another one I was initially uncertain of. But her moments with the Captain and their friendship is quite entertaining. Finding out more about her and how she was basically had to get married made me really sympathise with her. Also, the fact that she is so nit picky because she doesn’t know what to do otherwise and can’t cope with her own problems makes her interesting. 

Captain

I really resonate with the Captain. His near obsessive-compulsive tendencies and need for routines is something I also experience, and his suppression of his sexuality is another very relatable attribute. However, I feel like some people hyper-fixate on his sexuality as his only feature and it kinda takes away from the rest of his character. I really like how he interacts with Fanny, Pat and Kitty, because they all show different sides of each other and it’s really prevalent there. 

Maybe I’m a sucker for silver fox Ben Willbond- scratch that, I definitely am, but also I love the speculation around his name and his history, I love the improvisation in fics where he has a sister and stuff like that. He’s probably one of my favourite characters in tv shows in general.

Just my personal opinions and I would love to here other people’s 

This is a daaaaaaaark interpretation and I will easily take criticism on this, but Kerosene by CC sort of evolves when you know what was going on, the dark atmosphere and pitched percussive vocal effects really embody the sort of disconnect and trauma going on. “I’ll protect you from all the things I’ve seen” from Alice just really fucking hits

Interesting convo for art that has some form of abuse at its center, like maybe another better known example is The Shining. It makes me feels strange sort of catharsis and comfort but I feel like the more typical reaction is to throw it all in the trash.

I posted 574 times in 2022

That's 219 more posts than 2021!

42 posts created (7%)

532 posts reblogged (93%)

Blogs I reblogged the most:

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I tagged 27 of my posts in 2022

#transformers - 3 posts

#maccadam - 3 posts

#murder she wrote - 2 posts

#chocolate guy - 2 posts

#amaury guichon - 2 posts

#megatron - 1 post

#idw2 - 1 post

#brian ruckley - 1 post

#anna malkova - 1 post

#tfnation - 1 post

Longest Tag: 41 characters

#looks great but tastes like dog chocolate

My Top Posts in 2022:

#5

I worry that we're all about to meme an even Morbier sequel into existence

46 notes - Posted May 24, 2022

#4

I think it's time to demand a Tasting History with Max Miller/Dylan B. Hollis Cinematic Universe

48 notes - Posted May 7, 2022

#3

No offense to the mighty Æsir but if I were caught in an ever-tightening web of apocalyptic prophecy and immutable fate I would simply get out of it

87 notes - Posted November 29, 2022

#2

A thread of stuff I remember from Brian Ruckley's IDW2 retrospective panel from TFNation this weekend, in no particular order:

• Brian scoured the TFwiki for all the female TFs that he could use; he was very clear on presenting them as a normal part of TF society from the start, no weird 'explanations' needed

• He planned out the main story beats he wanted to hit in his head, but didn't make extensive notes or anything

• If it hadn't been truncated, the Exarchon plotline would have - pending Hasbro approval - dealt with the Quintessons and their region of space, cut off from the rest of the universe. They wouldn't have been involved with Cybertron's origins

• He praised the work of all the artists but in particular Anna Malkova, who he considered the best thing to come out of IDW2 and particularly impressive for moving from artwork to comic storytelling

• Flamewar was an obvious favourite, one of many characters without much existing fiction which allowed for more freedom

• One of the main themes of the series was trauma, embodied in characters like Cyclonus and his ghosts

• Geomotus and others showed that neurodivergence exists in Cybertronians; he wanted to show that there was a variety of ways in which characters could see the world

• The Technobots annual was condensed down from a full story arc which would have featured the Terrorcons; the Technos were chosen as Brian's favourite combiner team

• He didn't want loads of combiners running around too soon, hence the Enigma being thrown into the sea; it would have resurfaced eventually

• He considered one of his biggest weaknesses to be that he didn't make individual issues read as well on their own rather than 'in the trade'; he hoped that he had gotten better at it as the series went on

• Favourite TF character types included female transformers and teleporters; he wanted Skywarp to be a trickster-type figure

• As the series went on Starscream would have remained neither a true Decepticon nor in any way an Autobot, trusted by no one and yet charming/threatening/maneuvering them into keeping him around

• A continuing theme would be the gap between how Cybertronians see themselves and how other species view them; organic planets would consider these giant robots terrifying

• He doesn't consider himself good at big shock reveals and doesn't like bait-and-switches, so tried not to do either during the series

• Despite the long-form storytelling aspect of the book, his personal favourite issues were the one-shots that divided each story arc, like Wheeljack on the moon

• The senate attack that kicked off the war in earnest was originally meant to come earlier in the series

• He didn't originally know that the continuity was being rebooted when he was asked to pitch for a TF comic; there was a lot of back-and-forth at the start as Hasbro kept adding requests

• The series would have gotten to humans eventually, although Brian wanted the TFs to encounter them already in space rather than on Earth

• He enjoys writing comics more than novels, and would happily do only the former if given the chance

• He needed a science-related TF to be the initial murder victim; he sent a shortlist of names to be approved and they chose Brainstorm

• Hasbro did not want too many original characters created for the series; the ones he invented were all done so because they were integral to the narrative

• Once they were told about the license being lost, Brian made a conscious decision not to kill a bunch of characters off before the end; he thinks that it would be too cynical, and that deaths have to serve a contextual and narrative purpose to be meaningful. He also recognises that every character is someone's favourite, and now they can imagine the adventures they might have in the future

All in all, a really interesting and honest panel! Thanks to Brian and all the artists for my favourite TF continuity ever; RIP IDW2

457 notes - Posted August 16, 2022

My #1 post of 2022

468 notes - Posted November 15, 2022

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King of the Monsters

Godzilla Minus One is a goddamn masterpiece. It is the hype. If you have the opportunity to see it, definitely make that happen in the biggest screen possible. I saw it in XD and it was just a regular ass experience f*cking amazing. Bro, Godzilla Minus One has no right to be as good as it is. No hyperbole, as a film, it's arguably the best one I've seen all year. Like, it gives Oppenheimer a run for its money in terms of quality film making. The performances are all strong as f*ck, the direction is some of the best I've seen in years, the writing is pitch perfect, and the cinematography was breathtaking. You fully understand how massive Goji is when it does what it do. The mind-boggling scale really comes across more so in the film. than any of the Monsterverse joints, But that sound design is what does it for me. Whoever mixed this film knew exactly what the f*ck they were doing because that Main Theme hit hard as f*ck! You hear that familiar, yet, wholly original take, three times in this film and, every time, it's a gut punch.

Godzilla films are at their best when you have an emotional anchor. That's why the Monsterverse films have all sucked past the Bryan Cranston bits of the 2014 flick. No one cares about Millie Bobby Brown or that weird jungle kid who's friends with Kong. They're props for the monster fights, which is a stark contrast between how we, in the US, see Goji and how the Japanese see it. For them, and this film really drives that home, Godzilla is a force of nature. He is the embodiment of a cultural trauma that has scarred their people for damn near a century. We, as Americans, cannot even begin to broach something as unimaginable as falling victim to an atomic bomb, so we can't make films which resonate like that. To us, Godzilla is just a cool ass monster, like Frankenstein or King Kong, and we approach the character like that. We, culturally, do not understand how to make a "good" Godzilla film but the Japanese sure the f*ck do. They've done that a few times back in 1954, again with Shin, and now with Minus. You care about these characters. You want them to live. I can't say that about any US Godzilla media, outside of Bryan Cranston's character who f*cking dies in 2014.

To summarize, the hype is real. Godzilla Minus One is a goddamn masterpieces. See that sh*t on the biggest screen possible, with the best sound system available. Legitimately the best theater experience I've had all year. It' a solid f*cking movie, outside of Goji, himself, and is a strong character piece in it's own right. I have, as a Godzilla fan, we have been eating this Holiday season. Minus One is everything you have hear, the Monarch show has been brilliant, and, we got the trailer for another dumb, neon drenched, Monsterverse Goji flick. Or rather, Kong feat. Goji flick. I really, really, enjoyed Minus One. It's easily top three Godzilla content for me. I'd put it right after the 1954 original and a solid 2B with Shin being 2A. I would not be surprised in Minus One ended up taking home the Best Picture Award at the Japanese Academy Film Prize, just like Shin before it. Minus One really is just as great a film.

“Uprooted” (2020-22), 804 dead trees and steel, 300 x 65 x 50 meter5s. Installation view at Sharjah Biennial 15, Kalba Ice Factory, Sharjah Art FOUNDATION, 2023.

“Untitled” Installation for the 8th International Istanbul Biennial, 2003

“Shibboleth’’ 2007. Concrete and metal, 548 feet long. Installation at Turbine Hall in Tate Modern, London.

Doris Salcedo is recognized for her sculptures and installations that incorporate everyday objects such as tables and garments. Her artistic style frequently begins with historical events, concentrating on how important political decisions affect individuals’ daily mental and emotional experiences of an individual. Salcedo skilfully transmits burdens and conflicts with a precise and economical method.

Salcedo famously cracked the floor of the Turbine Hall at London’s Tate Modern, creating an explosive effect.

Salcedo placed over 1,500 chairs between two buildings in Istanbul to address the displacement caused by the war.

In the artwork “Uprooted,” the theme of migration is further explored through the transformation of hundreds of dead trees into the recognizable shape of a house, gradually merging its precisely constructed walls and pitched roof into a thicket. Furthermore, in “Uprooted”, Salcedo also explores transformation and loss. The installation, featuring lifeless, colourless trees, symbolizes the disintegration of our environmental bond. Visitors can circle the exhibit but cannot enter due to impenetrable wood tangles and the uninviting entrance.

“I am a Third World artist.’ No matter in which works, Salcedo arises “from that perspective—from the perspective of the victim, from the perspective of the defeated.” In the installation, Salcedo is the original witness or survivor of traumas. Salcedo engages with survivors of trauma, loss, and violence as well as with audiences. Even if a piece focuses on one person’s trauma, Salcedo is more interested in the intricate interplay between sharing internal experiences and addressing external viewers than in maintaining the purity of self-expression. Salcedo creates spaces where loss is invoked as an embodied experience. Unlike some of her peers addressing political violence in Colombia, she steers clear of depicting victims’ faces or bodies and avoids specifying the reasons behind the trauma and loss. Salcedo’s works and ideas inspire me and let me reflect on my creative paintings. I always focus more on the integrity of subjective expression and detailed depictions of the word on the subject’s face to present the emotion from the inside. I started to think about it from inside to outside as trauma, not as an internal state, but as a transformative experience that affects the world as significantly as it does bodies. It encourages me to create a physical space, for instance, an installation, to extend trauma in an area and invite the audience to a different perspective. 

What Is Spiritual Integration? The Three Pillars Of Fast And Effective T...

Today we're going to talk about The Three Keys To Integrate Your Spiritual Essence Into Your Physical Body So You Can Share Your Gifts On The Planet And Live Your Purpose There’s a few things you need to understand to quickly and efficiently integrate body and soul. Click the link to the video I’ve made on the topic: https://youtu.be/4LDKkmtSXSw Or keep reading to get the Cliff’s Notes… First some context... Coming here is kind of a shocker. We’re blind in a sense. We don’t remember what it was like to be spirit. It’s like we’re stumbling around in a pitch black room, and after we run into the furniture enough times we start to get an impression of how things are laid out. Likewise after stumbling through the hurts and traumas and joys and successes of life enough, we start to get a sense of who we really are and why we’re here. It’s possible to speed that process up and smooth it out. First, it’s good to know how we get dis-integrated. That starts the second we show up in the womb as we feel into the way everyone around us is separated and fragmented in themselves. Since we rely on them for our survival we adopt the same way of being. Second, we need to understand that life is constantly nudging us toward our evolution. Everything we encounter is life trying to get us to feel the parts of ourselves we’ve pushed away. Third, embodying the parts of ourselves we’ve pushed away is key to integrating our spiritual essence into our physical bodies so we can share our soul’s gifts through these bodies and onto this physical plane. The dis-integration process I mentioned in step number one happened before we could think, when we were relating directly to the energetic backoffice of those around us. So we can't think our way into spiritual integration we can only feel our way through. In this video I go over these concepts and show you some simple techniques for embodying the feelings that arise as a result of… life. Click the link to watch now: https://youtu.be/4LDKkmtSXSw I look forward to helping you express more life, Jay “Spiritual Integration Helper” Uecker