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#the embodiment of Scarlett devil
konoayaha · 6 months
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foreverumbra · 2 years
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I had this shitposty idea ever since seeing Marisa and Rumia's conversation in Embodiment of the Scarlett Devil, and I've finally made it real. Also didn't feel like drawing it nicer.
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tabloidtoc · 3 years
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People, May 3
Cover: Prince William and Prince Harry: Brothers United in Grief
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Page 3: Chatter -- Steven Yeun on being asked about the Oscars never having had an Asian American Best Actor nominee before, Jessica Biel on her and Justin Timberlake's kids Silas and Phineas bonding, Viola Davis on finding success later in life, Justin Bieber on growing from previous drug use and other mistakes, John Stamos on understanding why the Olsen twins Mary-Kate and Ashley Olsen didn't return to Fuller House, Catherine Zeta-Jones on her and husband Michael Douglas discouraging their kids from pursuing acting
Page 4: 5 Things We're Talking About -- Courteney Cox puts her inner Monica on display, there's a bubble tea shortage, Downton Abbey returns, Indiana Jones chooses wisely, Serena Williams aces a TV deal
Page 6: Contents
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Page 8: The Academy of Country Music Awards -- Carrie Underwood, CeCe Winans
Page 9: Mickey Guyton, Thomas Rhett, Maren Morris and her husband Ryan Hurd, Elle King showed off her growing baby bump on the red carpet with pal Miranda Lambert
Page 10: Stars on Set -- Adam Driver sported a pair of statement glasses as he biked around Rome while filming the fashion biopic House of Gucci, Patrick Dempsey stayed in character while filming the thriller series Devils in Rome, Gabrielle Union flashed a peace sign as she left the L.A. set of the upcoming reimagined Cheaper by the Dozen
Page 11: Nicole Kidman embodied Lucille Ball while shooting the new Aaron Sorkin film Being the Ricardos, Reese Witherspoon brought her dog Minnie Pearl to work while filming the next season of The Morning Show in L.A., Anya Taylor-Joy wore a black jumpsuit to film a Tiffany & Co. commercial under NYC's Manhattan Bridge, Niall Horan and British pop star Anne Marie goofed off in a vintage convertible while shooting a music video in Essex, England
Page 12: StarTracks -- Pretty Little Liars star Brant Daugherty and actress wife Kim welcomed their first child together -- a son named Wilder David, Saweetie performed at the Triller Fight Club: Jake Paul vs. Ben Askren boxing match in Atlanta, Christian Bale showed off his newly shaved head during a run on the beach in Sydney where he's filming Thor: Love and Thunder, The X-Files stars Gillian Anderson and David Duchovny reunited in a selfie shared on Instagram with her dog Stella who photobombed the longtime friends
Page 14: Jennifer Lawrence and her husband Cooke Maroney made a rare public appearance together to grab an early dinner in NYC, Ricky Martin performed at the Latin American Music Awards in Sunrise, Florida, Julia Roberts as the new ambassadress for luxury brand Chopard
Page 17: Scoop -- Controversy after Colton Underwood comes out
Page 18: Pete Davidson's romance with Bridgerton's Phoebe Dynevor
Page 19: Heart Monitor -- Ashley Benson and G-Eazy back on?, Christian Siriano and Brad Walsh divorcing, Harry Connick Jr. and Jill Goodacre happy anniversary, Travis Barker and Kourtney Kardashian heating up
Page 23: Scarlett Johansson on life and love in lockdown
* Baby Boom -- J Balvin and Valentina Ferrer are expecting a baby together, Tan and Rob France on the way to being parents through a surrogate
Page 25: Ken Jeong fighting the pandemic and Asian hate
* Scott Foley on his big new moves
Page 26: Open House -- Jimmy Fallon's quirky and colorful NYC penthouse
Page 29: Wedding -- Raven Gates and Adam Gottschalk -- after postponing their wedding three times, the Bachelor in Paradise couple tie the knot in an intimate ceremony
Page 30: Passages, a Harry Potter star dies at 52 -- acclaimed British actress Helen McCrory, who played Narcissa Malfoy, died of cancer at her home, surrounded by a wave of love from friends and family, said her husband Damian Lewis
Page 31: Anguish and renewed pleas for change after a fatal traffic stop -- yet another unarmed Black man, Daunte Wright, is killed by a police officer in Minneapolis, sparking more protests nationwide
* Why I Care -- as chairman of the Motion Picture Television Fund (MPTF), award-winning producer Jeffrey Katzenberg helps raise millions to support colleagues in the entertainment industry
Page 32: Stories to make you smile -- a baby girl and her puppy double up on cuteness, a 12-year-old raises money to buy laptops for kids in need
Page 35: People Picks -- Shadow and Bone
Page 36: Home Economics, One to Watch -- Kung Fu's Olivia Liang
Page 37: Things Heard & Seen, Life in Color with David Attenborough
Page 38: The Mitchells vs. the Machines, Couples Therapy
Page 39: A Black Lady Sketch Show, Eric Church -- Heart & Soul, Q&A with Chelsea Frei
Page 41: Books
Page 42: Cover Story -- Prince William and Prince Harry united in grief -- after a difficult year apart, the brothers come together to honor their grandfather Prince Philip
Page 50: Jennifer Lopez and Alex Rodriguez -- why they couldn't make it work -- after four years together, the power couple are officially split. What went wrong, and what's next for the stars
Page 52: Vanished: Help Us Find These Kids -- the families of these missing children desperately hope to find them, and authorities could be just one clue away from bringing them home
Page 59: Tom Jones -- life is more precious every day -- the music legend opens up about healing after losing his wife of 59 years to cancer, and why he never wants to slow down
Page 62: Julianna Margulies -- what I know now -- from a tumultuous childhood to fame and fortune (and crushing on George Clooney along the way), the wife, mom and Emmy winner, now out with a memoir, reflects on her lucky life
Page 66: Cindy McCain -- love, loss and life after John -- three years after John McCain's death, his widow shares the ups and downs of life at his side, and how she's finally coming into her own
Page 70: Michael B. Jordan -- I'm in a great place -- halfway into his reign, the Sexiest Man Alive is living his action-movie dream, and he's in love
Page 75: Why I'm Grateful for the Vaccine -- a double dose of destiny -- their 1955 polio vaccinations made the local news. Now they're married, and celebrating their COVID-19 vaccines
Page 77: Mother's Day Gift Guide -- celebrity moms choose perfect presents to give (and get) -- Kate Hudson
Page 78: Ayesha Curry
Page 80: Amanda Kloots
Page 83: Spring's Big Jewelry Trend -- beaded pieces are everywhere right now
Page 88: One Last Thing -- Elizabeth Perkins
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aishissaart · 4 years
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Quarantine made me read this book- GONE WITH THE WIND BY Margaret Mitchell.
And here's my review
(which clearly nobody asked for but eh)~
It takes guts to make your main character spoiled, selfish, and stupid, someone without any redeeming qualities, and write an epic novel about her. But it works for two reasons. First of all you wait for justice to fall its merciless blow with one of the most recognized lines in cinema ("frankly my dear, I don't give a damn"), but you end with a broken and somewhat repentant character and you can't be pitiless. Secondly, if you were going to parallel the beautiful, affluent, lazy, spirited South being conquered by the intellectual, industrious North, what better way to do that than with characters who embody those characteristics? You come to feel a level of sadness that the South and Scarlett lost their war and hope that they will rebuild.
I enjoyed the picture of pre-war South outside of what you learn in history class approved by the nation that won the war. If the South had won, we would have an entirely different picture painted. A story of lush lands and prosperity abounding with chivalry and gentility by a (too) passionate people. If you visit the South today, you can see that all these generations later the wounds of the war and the regret at losing the way of life are still fresh. But if it had not been the civil war, it would have been by other means that the lazy sprawled out way of life would have been conquered by our efficient, compact, modern lives.
I enjoyed the picture of plantations that did not abuse slaves to the extent that you read about in many memoirs. There was still a disrespect in that they viewed "darkies" as ignorant and childish and worthy of being owned, but there were those who cared for those in their trust. And the North who came down riling up the lowest of the slaves to flip the oppression did not want any contact with a race they feared. Prejudice takes many faces. Slavery is such an important part of American history, but I don't know that I agree with the format in which it is taught (at least the way it was taught to me). We take young, tolerant children and feed them stories of racism and abuse and then tell them the world is naturally prejudice (that they are prejudice) so don't be. White children start feeling awkward and aware and black children start feeling mistreated and aware. We manage to teach children about Indian and Holocaust history without the same enthusiasm to end racism by breeding racism. There has to be a better way. But I digress.
I also enjoyed Mitchell showing the volatile formula in which the KKK was aroused, that it wasn't just a disdain for free darkies but a need to protect their women and children from the rash anger now imposed on them through this new regime. Not that there are any redeeming qualities in the KKK, or even the Southern rash justice by pistol shot to curb wounded pride, but it was interesting to learn the wider circumstances in which it arose. The entire picture of the Southern perspective from the hierarchy of slaves to the disdain of the reconstruction was enlightening. The post-war difficulties, that sometimes it's harder to survive than die, were some of my favorite epiphanies of the story. What everyone in the South went through, both white and black, after everything was deconstructed and they didn't know how to rebuild. It wasn't just about freeing slaves but about rebuilding an entire way of life and sometimes change, even good change, can be this scary and destructive.
My one complaint about the book was at times the description was lengthy. I'd get a grasp for the emotions of Scarlett that are supposed to describe the emotions of all Southerners or the description of the land at Tara as a representation of the rich red soil all Southerners love and then Mitchell would go on for paragraphs or pages rehashing that feeling to pull the most emotion out of you. It worked, but sometimes I think she could have done so in fewer words.
I view Scarlett as a representation of the South in which she loved. She did not care from whence the wealth came or believed that it would ever end. Because she was rich and important, she would conquer. As the Yankees attempted to rebuild the South, fresh in their embitterment at a war they did not want to fight, you can both see their reasoning and feel for the Southerners who were licked and then stomped on in their attempts to gain back of their life. You see that in Scarlett. On one hand you don't pity her and think she needs a lesson in poverty and on the other hand you want her to survive. Either she can lie down and cling to her old ways or she can debase herself and rebuild. Survival, not morality, is her strongest drive.
Oh Scarlett. We all know people like her. People who unscrupulously use their womanly charms to get ahead and carry a deep disdain for those bound by concepts of kindness, morals, or intelligence and most especially for those who see them for what they are instead of being manipulated. People who care for nobody but themselves and who find enjoyment in life not in what they have, but in conquering the unattainable that is only desirable because it is out of reach. I loved how Mitchell showed Scarlett's decline from a religious albeit not believing girl who allowed her rationalization and avoidance to carry her from one sin to the next of intensifying degree. An excellent portrait of the degradation of character.
Initially I thought she was the only character who wasn't growing, actually digressing. But by the end she does grow up. In no regard is this greater than in her eventual desire to be a mother. Turning from her ravenous post-war desire to survive to her acceptance of life and the people around her as the way they are, eventually Scarlett grows into the person she was meant to be. As did the South. Prideful and resentful, eventually they had to accept that they lost the war and take what was given them and try to make it work.
Scarlett realizes that Melanie is not the weak, cowardly girl she always assumed but the most courageous character in the book and one who gets her means by influence and persuasion instead of Scarlett's uncivil ways. It is Melly, not Scarlett, who could get anything she desires and her heart is not her weakness but her greatest strength. Finally Scarlett values the importance of love and sees that it does not make one weak but deep to possess it. OK, I won't go that far. She's not intelligent enough to analyze love, but she grows up enough to fall for it anyway, to realize she needs people.
She sees Ashley not as the strong, honorable character she had always esteemed but the weakest and least honorable character in the book. Anyone who would tease another woman with confessions of love just so he could keep her heart and devotion at arm's length is not truly honoring his marriage vows. The greatest gift he could give his wife was the knowledge that he loved her. And we all know that like any pretty toy, once Scarlett had taken him, she would have discarded him. The debasing knowledge that he is not fit for a rougher way of life doesn't endear him. For all his intelligence, he could have picked himself up by the bootstraps and made something of himself if he wanted to survive. He is a representation of the Old South that had to die but many couldn't let go of, even today. That's the sadness of the loss of the Southern way, still longing for the past instead of moving forward.
Then we come to Rhett, the only character with the ability to conquer Scarlett, who was quite the devil. Just like the ladies in old Atlanta I found myself at times entranced by his charms, but often I did not like or trust him. I was often torn about the way he constantly encouraged Scarlett to fall another wrung on her morality ladder and mocked her emotions, mocked all of Southern civility. What annoyed me most about him was that he showed love by coddling his wife and child until they were spoiled, dependent, but not grateful, and this was his idea of being a good father and husband. And yet I sympathized with him and was often amused by him. More than anything I enjoyed his intelligence as a way for Mitchell to introduce the Yankee viewpoint, using his sarcasm as satire. I loved the whole discussion of his not being a gentleman and her no lady.
More than anything I saw his slow conquering of Scarlett's heart as a parallel to the slow enveloping of the South by the North until they realized they were dependent on their conquerors but could still maintain their fierce spirit, a marriage of North and South. The fact that she could never fully understand him shows the divide between to two philosophies. But does the South lose in this blending? Can't they adopt the intellectual ways of the North and still maintain their civility? Just like Ashley, they would rather have dreamt and remembered than changed.
The characters in the book are so vivid that like or dislike you cannot get them out of your head. There are no more vibrant characters in the history of literature that Scarlett O'Hara and Rhett Butler. There is a reason this book is a classic. Everyone should read it at least once in their life to appreciate the civil war and understand the sadness and loss that enveloped the country.
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anyroads · 4 years
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The stupidest thing I ever read
was this idiot’s review of Jojo Rabbit in Esquire. I’m cutting/pasting it below because I don’t think the piece deserves to generate more hits for the site, but here’s the link if anyone wants it. Anyway, I was going to complain about it to the editors but instead I sent them my own review, of their review. I doubt anyone checks their public “complain to the editors” email account, but since kvetching the national sport in my country of myselfvania, I’m posting it here. 
Here’s the fuckery they published: 
Jojo Rabbit's Softening of Nazism Is the Last Thing We Need in a Best Picture Winner
This Oscar nominee is a lie, and a detestable one at that, especially in this day and age of rising white nationalism at home and abroad.
With What We Do in the Shadows, Thor: Ragnarok, and Hunt for the Wilderpeople, Taika Waititi established himself as an energetic, occasionally uproarious filmmaker. Disappointingly, his latest is a misstep of colossal proportions, a project so fundamentally misguided and terribly realized that it’s difficult to fathom its existence in the first place, much less that it’s being considered alongside great movies from the likes of Martin Scorsese, Bong Joon-ho, Greta Gerwig, and Quentin Tarantino. From grating beginning to cloying end, this coming-of-age saga about a young wannabe Nazi is a fiasco that mixes ahistorical ignorance, cornball humor, derivative style and laughable bathos to mind-boggling effect.
Like Life is Beautiful if Roberto Benigni’s Holocaust hit had imagined the SS as clowns, Jojo Rabbit is the story of Jojo (Roman Griffin Davis), a precocious adolescent who desperately wants to join the Hitler Youth, and who spends his days and nights conversing about evil Jews and the glory of the Third Reich with his make-believe BFF Adolf Hitler, here embodied by Waititi as a hyperactive, heil-crazy cartoon intended to come across as a loveably funny genocidal madman. Spoiler alert: he’s not, and the fact that he’s “imaginary” doesn’t help Jojo Rabbit sell this Führer—against all decent taste or basic sanity—as endearing. The same goes for Jojo himself, who earns himself the nickname “Jojo Rabbit” for failing to kill a bunny at the behest of Hitler Youth bullies—a sign that, though he spews vileness like a dutiful little hatemonger, he’s actually, deep down, a good person.
Waititi doesn’t stop sympathetically humanizing Nazis there. At every turn, Jojo Rabbit—whose title sounds like the name of some cuddly children’s plaything (say, a Nazi-esque Teddy Ruxpin)—is filled with virtuous Germans. Jojo’s mom Rosie (Scarlett Johansson) is a heroic resistance fighter; the boy’s camp director Captain Klenzendorf (Sam Rockwell) is a flamboyant closeted gay man; his best friend Yorki (Archie Yates) is an archetypal pudgy sidekick who, like Jojo, is enthusiastic about the Reich without having any sincerely nasty convictions; and Klenzendorf’s right-hand woman Fräulein Rahm (Rebel Wilson) is a buffoon who is meant to be charmingly loopy. Sure, we get a couple of scenes with a mean Gestapo agent (Stephen Merchant), but Waititi’s film portrays WWII-era Germany as a place populated almost exclusively by likable, honorable folk.
That’s enough to make Jojo Rabbit a lie, and a detestable one at that, especially in this day and age of rising white nationalism at home and abroad. Worse still is that its primary plot involves Jojo’s discovery of Jewish teen Elsa (Thomasin McKenzie) hiding in a secret cubby in his apartment. Jojo is initially horrified by this revelation, and the idea that his mom Rosie has stashed her there. However, his ensuing relationship with Elsa—full of oh-so-witty bits in which the girl pokes fun at his repugnant anti-Semitism—soon turns romantic, and teaches him that Jews aren’t money-grubbing horned devils after all. On the contrary, they’re people, just like him! He therefore sets about protecting his beloved Anne Frank proxy from capture, culminating in a heartwarming finale in which Jojo has a change of heart and rejects intolerance and, also, his make-believe Hitler, who’s ceremoniously booted out a window like a Looney Tunes character.
Jojo Rabbit bills itself as an “anti-hate satire,” which epitomizes its empty-headedness; you don’t need to exaggerate hate in order to expose it as bad, because hate is inherently bad, no satiric exaggeration required. Moreover, its main uplifting point—that prejudiced people will learn the error of their ways if they just get to know the objects of their scorn—is both debatable in the abstract, and wholly inapplicable to Nazi Germany. Nazis did know Jews—they lived next door to them, worked with them, socialized with them, frequented their shops, saw them on the streets, and welcomed them into their families. Yet that familiarity didn’t stop them from also ostracizing them, demonizing them, and turning them in for mass extermination. That’s the bedrock truth about Nazi Germany, and Jojo Rabbit’s desire to conjure an alterna-reality in which everyone in Nazi Germany was kind, funny, and noble turns out to be the same sort of “very fine people on both sides” hogwash peddled by our current commander-in-chief.
Suffice it to say, in the face of such ill-conceived nonsense, humor dies a swift and painful death. Waititi stages his action with colorful symmetrical compositions and playful soundtrack cuts (such as a German rendition of “I Want to Hold Your Hand,” to underscore the Beatlemania-like appeal of Nazism), which gives the proceedings the air of a cheap Wes Anderson knock-off. The writer/director/co-star strains hard to up the farcicality quotient in order to have the film play like a sweet modern comedy about a foolish goofball who eventually alters his unwise course. It’s a common quirky-indie mold, equal parts Rushmore and your average Will Ferrell effort, the problem being that Jojo Rabbit is grappling with titanic real world events (i.e. the Holocaust) that aren’t comfortably molded into silly feel-good pap.
Despite its nominal message about turning hate into love, Jojo Rabbit is a work that normalizes Nazis, and thus Nazism, and thus intolerance in general, by alternately saying that it either doesn’t exist, or is cute and amusing and powerless in the face of aw-shucks kiddie compassion. That makes it astoundingly wrong about WWII, about humanity, and also, of course, about today’s alt-right-infested climate upon which the film has been designed to comment. Putting it in the same company as the rest of this year’s Best Picture candidates—especially the epic The Irishman, the revealing Marriage Story, and the vivacious Little Women—is absurd; it’s wholesale cluelessness makes even a second-rate nominee like Joker seem downright incisive (about social alienation, xenophobia and fanaticism) by comparison.
And here’s my review of this asinine review: 
With his review of Jojo Rabbit in Esquire a few days ago, Nick Schager achieved what so many of us can only hope to in this brief and wearing mortal coil: to see with the eyes of a child and yet still write with the vocabulary of someone who almost passed an SAT prep course. Well, not with the innocence of a child, per say, more like the infantile, unformed, and uninformed perspective of one, but let’s not split hairs.
Schager begins by declaring that the Oscar nominee is a lie which, as a statement, succeeds in being both unclear and uncomfortably committed to intensity without substance. So that’s a good start. Although the review itself is fairly short, it took an approximate ten years off my life as I searched fruitlessly for any semblance of logic behind even just one of  Schager’s claims. It quickly became clear that the film elicited blind rage in him and he seems to have been unable to overcome his emotional irrationality, though in his defense, it doesn’t seem like he exerted himself much towards that end.
I think we can all agree that in a film that’s presented from a child’s perspective, both through the script and literally through camera angles, it’s a lot to expect a grown man, let alone a film critic, to pick up on the subtlety of this very blatant and clear storytelling technique. Schager conflates Jojo’s character’s development and the one-dimensional consistency of a first draft Disney sidekick, because it helps him prove the point that his perspective is reductive and banal. He conveniently skims over the differences between the sociopathic Hitler Youth and Jojo’s mom Rosie’s role as a resistance fighter, because if he were to try drawing actual parallels things would get very awkward very fast. After all, if we were to examine how the Hitler Youth are presented as psychotic fascists who make children kill small animals, and how Rosie is presented as an average German citizen doing what she can by being a resistance fighter, then we would quickly realize that the only commonality they really share is being various Germans. This, in turn, would mean that Schager not only missed the point entirely - gasp! - but is just projecting his own biases onto characters.
At the same time, he also doesn’t seem to have cracked a European history book since Caesar decided to have a chat with his Senators in the Curia of Pompey. Otherwise he would have known that though future Nazis did live next to Jews and frequent their shops, Jews weren’t hard for Hitler to separate out from German society as they had been repeatedly exiled from, blood libeled in, and consistently othered and excluded from all of European society for hundreds of years, even in Germany. Somehow Schager has managed to convince himself that buying goods and minimal amounts of intermarriage alongside a long history of bloodshed, rape, and demonization of Jews somehow amounts to widespread close friendships, while simultaneously actively ignoring all the data from repeated sociological studies proving that the best antidote to racism is exactly the kind of person to person empathic relationship that Jojo and Elsa develop. I mean, Schager literally spends an entire paragraph writing actual nonsense that contradicts these easily verifiable facts, so well done to him for being so unabashedly confident, I guess.
Then again, referring to a child indoctrinated in hate before having the intellectual capacity to understand its implications as “a dutiful little hatemonger” should have been a dead give away that this was less of a review and more of a cry for attention, I guess. The idea that the film’s aim is to explore how this indoctrination can be undone by empathy and love in an era when an increasing number of boys and young men are being radicalized online isn’t lost on our intrepid film critic, excepting, of course, the fact that it’s completely lost on him to the point where I almost want to ask Schager who hurt him. As his review continues, I grow less and less interested in posing this question, however, because he seems like a deeply difficult and painful person to engage with, not just as a film critic. Even Jay Sherman’s harshest jabs were at least justifiable and well-reasoned, and he was a cartoon.
While I’m not entirely sure where Schager gets off manipulating the most basic aspects of a Maori Jew’s film aimed at disempowering naziism through humor while presenting the horror of how easily young boys can be swayed by hateful rhetoric, I’m sure an apparently fragile ego and inflated sense of self-righteousness contribute to the way he holds empathy against both Waititi and Jojo’s character. After all, from what I can tell by this review, he sees no difference between having empathy for a child who has yet to understand and develop his beliefs, and a fully formed sociopath like Hitler. For him, laying bare the fallacy of the Nazi ideal of a unified aryan nation by showing that it will always be undermined by diversity - whether it’s via resistance fighters or people whose sexuality deviates from the established norm, no matter how average or high up in government a person is - is just a way to humanize Nazis. You know, the everyday German citizens he was so protective of like two sentences earlier. It certainly can’t have been Waititi trying to make a point about how there’s no escaping human diversity and to try is ridiculous and destructive.
And so, the simplest of things about this film, like the fact that Hitler is presented through the eyes of a child, is lost on a film critic who is too intelligent and sophisticated to notice such lowly and basically apparent filmmaking choices. The jury’s still out on whether or not he actually realized that Rosie’s character was hanged for her resistance efforts, but it’s likely Schafer was too busy raging about how offensive he found it to see any remotely human characters in a film about the indomitable and ultimately loving spirit of humanity, simply because it’s set in Nazi Germany. Although the rest of the world was able to pick up on the wonderfully insightful and gently crafted approach Jojo Rabbit takes towards its story, Schafer is content to blast it mercilessly without making a single reasonable point through seven entirely obtuse paragraphs. If you listen very hard, you might still hear the echoes of his rant emanating from his own cavernous posterior, though the head he crammed up there muffles the sound a bit.
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Scorpio female: The Specimen
Principle:
The Chthonian Principle. That of unseen nature and the inner workings of the planet, cosmos, and the human subconscious. The term is derived from Chthonia "underground," yet another name for Persephone. It relates to the machinations of the internal feminine experience - the earth being personified as female. Regenerative forces of the planet and the reproductive process of women are both called into question during the "cold storage" associated with the onset of autumn and menopause, respectively. Her sign's motto "I desire" signals this femme fatale's infamously hidden agendas.
Planetary symbol:
Pluto's power is one of transformation, growth through elimination, regeneration, and renewal. From an earthly perspective, the planet rises to great heights and dives to profound depths, echoing the phoenix's rise and fall and the seasonal descent and return of Persephone. It is through self-imposed exile, eliminating the distractions of "surface" experience, that Scorpio gains "insights," which, in turn, fuel her loftiest ambitions while nonetheless providing grounding.
Sign Quadrant:
The zodiacal quadrants correspond to metaphysical planes of being - physical, emotional, mental, and spiritual. The Third Quadrant is that of mental perception, in particular the concept of existence. Scorpio is about the dark recesses of the subconscious and the objective exploration of this subjective realm. Like dormant Persephone, entranced on the throne of the underworld - itself an image of the subliminal - Scorpio woman is focused on self-examination and the elimination of deep-seated blocks that might interfere with psychological growth. Sign glyph:
Of all Scorpio's associated symbols - dragons, serpent, spider, scorpion, phoenix - it is probably the latter mythical bird that is most appropriate to the character of the Scorpion female, as both birds only ever rise stronger than ever after even the most startling crashing and burning. The second dictionary meaning of phoenix is "one of peerless beauty or excellence."
Element+Quality:
The water element connotes emotion and intuition. The fixed quality denotes intense concentration and magnetism. The fixed-water compound particular to Scorpio is likened to ice or other such crystals as salt or precious and semiprecious stones. Scorpio woman is just such a gem, perfected by the internal machinations of her pressurized psyche. As perfect a ten as she may be, she sees herself as salt of the earth, a precious, (self-) preservational commodity. 
Polarity:
Females in feminine (earth, water) signs are aligned with the gender polarity of the sign and embody the quality-element combination of the sign. The fixed-water status of Scorpio means she is often as icy as can be. She has firmly fixed beliefs. Moreover, she is perfectly crystalized in her understanding of self, completely convinced of her motivations and unwavering in her emotional attachments.
Sign Number: 8
The number of regeneration. Tradition equates eight with transcendence to a higher plane of consciousness. It signals eternity, the spiral shape folding unto itself. It is also associated with moneymaking and worldly possessions.
Single Age Association: 49-56
The menopausal period. The cessation of maidenhood, akin to virgin Kore having turned into her crone aspect, Persephone. The hormonal change occurring at this time puts a woman in touch with the unseen chemical working of her body, something of which the Scorpio is forever aware. Just as tree drops its leaves and the energy growth shifts to the internal root level, so, too, does this age signify the shedding of the last bloom of physical fertility in favor of the psychic fecundity of womanly wisdom.
Psychology: 
Scorpio is imperious. Her brand of superiority complex rivals Leo man's. Like frozen Persephone, she can be rigid, icy, and expectant of others to do her bidding. Her sting manifests when faced with strangers, of whom she's almost pathologically leery. 
Archetype+Myth:
Scorpio draws on the archetype of the destroyer goddess. Persephone personifies the earth at the dying time of year, just as the sign corresponds to the onset of the autumn of one's life. Death in the Scorpion view is a door to transformation. The Eleusimian mysteries associated with the goddess underscore illumination stemming from darkness. Persephone is about renewal - she turned mortals into gods, a pattern repeated by the Scorpio woman in love relationships where is oft in the business of killing off her mate's impairments such that he/she might emerge as a more divine entity. She is also associated with the Sphinx, who holds life's riddles and kills men if they don't answer them correctly.
Bible+Literature:
Scorpio is the she-devil. Ancients personified death as female, the bosom of Mother Earth to whom we all return. The femme fatale character lives in such figures as Delilah, "the weakener," whose name also means "opening," both as yoni and grave. Sex and death, both attributes of Scorpio's 8th House, are metaphorically interchangeable. The femme fatale character in literature uses sex as a device for her own gain. Scarlett O'Hara is most infamous, her name recalling the deep red associated with the sign; her union with Rhett Butler, a devilish Plutonic character clad in black, coincides with the desolation of the earth (Tara). Alice's Adventures in Wonder land also depicts the Scorpio female who is undaunted in delving into her own psyche.
Source: Sextrology
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mantra4ia · 7 years
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Lucifer Season 3 and Beyond
Desires, Needs, Speculations (and questions):
Is Lucifer with wings a flashback to his fall from heaven, which I asked for last summer hiatus (it couldn’t be when he climbed out of hell to LA, because clearly that’s a desert not a beach) OR did he get dragged through the void into another world-universe?
It seems like each season our world and ensemble expands a little. Season 1 we examined the consequences of the devil making a playground, and eventual home, of Los Angeles. Season 2 we got a brief, but much more detailed window into hell.  I feel like we just got a glimpse into the architecture, it’s landscape and personal suites - so what is next? I deeper look into hell, a peek at silver city, or something teased in 2x18 only as “the void” where other universes are made? 
If we were going to step through that door into not just one world but the possibility of any number of them, how would we do it? Both eyes open, both eyes closed launching into the unknown? Are we ready to bridge the gap from the concrete world to the vast comic landscape, and to what extent?
Who knocked Lucifer out? Was it Azrael? Will we finally meet Lucifer’s sister, Angel of Death (and has she dealt with the heavenly patriarchy better than her mom has)? This was also a season one speculation slowly coming true, A+ fan service.
What did Maze do to Linda’s license investigative reviewer off screen near the end of s2? Will it come back to bite her in s3?
Ella’s family played an understated role in season 2, but there was a missed call from Ella’s brother in 2x17 that piqued my interest. Will her character, particularly family backstory, be more consequential in s3?
I really would like a father Frank reprisal, and can we make it a really good plot twist- thanks.
Now that Linda seems to have lost her credentials as I psychiatrist, where will Lucifer and Maze get their therapy from?
Will she get her license back, and what would that process entail? Will Lucifer muck about?
Or will Linda get resort to a job from her past, which we have yet to fully uncover? Will s3 dig into that? Her character has longevity priority, I need answers.
If she remains a counselor to some extent, can we please get Amenadiel on the couch next? Luifer and Maze has a good run. He’s been having an identity / purpose crisis last season, an unlike Maze who’s had the benefit of Linda’s help, Amenadiel has struggled, partly because he lacks the human anchors that Maze stumbled on. Can we get the Linda-Amenadiel dynamic back?
Dandielion (Dan and Amenadiel) are a great BroTP that I think Amenadiel could really use. Keep building that please.
Speaking of, Lucifer hinted at this near the end of season 2: has Amenadiel and Maze’s relationship got a spark left in s3, or has it cooled completely as they’ve both had to do a lot of work finding their own place on Earth?
So Mum has gone into the void to be her own independent goddess, and define herself within a universe of her own making. Will all that happen off camera (aka - is mum’s story completely finished for s3)? It would kind of be a shame if it does considering she only recently realized that she still, in some capacity loves her ex-husband and Lucifer has only recently realized (or rather Linda on Lucifer’s behalf) that as much as he enjoys the idea of his parents fighting to the death - minus the consequences to humanity - he is also fond of seeing them together. Not to mention Dad probably has his own opinion on the subject and it would be some kind of awesome to see them together. Is there an opening for mum’s return next season, family related or for her favorite human?
Speaking of, it seems that human Charlotte Richards survived celestial occupation, but sans recent memory. Will she still be a supporting figure in the lives of our central ensemble - particularly for Dan?
Dan is on the freaking precipice of discovering the secret of Lucifer’s family, particularly now that he had such a strange and intimate relationship with Charlotte, which she does not remember. Will he be the next to know and buy in? Will Linda need to catch him up?
Are there going to be any consequences to Dan and Maze’s team up from prior to the first s2 hiatus, when they exacted punishment on Chloe’s behalf on the corrupt warden involved with her father’s murder case?
Linda was the last person, presumably, to see Lucifer before that wicked cliffhanger. Also, he left a message for Chloe, but he’s ‘vanished’ on her before. Will Chloe be worried and search for leads on Lucifer as a night job, or will Linda need to steer the ship and guide her into seeking him out?
Will Lucifer be separated from the central characters for an extended period of time?
Going back to Charlotte a quick sec, there seems to be a parallel between her and God Johnson. As soon as mum’s celestial soul left Charlotte she emerged with no memory. The same happened with Earl Johnson. At the time, we attributed it to the celestial piece of the sword in his belt, but this new evidence begs the question - what if Lucifer was really talking to his Dad and the artifact was a conduit?
Also, what if God was one of us?
Lucifer with no shirt, no shoes, and wings in the desert. There’s an Heroes flying man reference in there somewhere. *fingers crossed*
Near the end of 2x18, Lucifer seemed to throw the first two pieces of the flaming sword into the void after Mum, without the key, thus ensuring a slim to none chance of her immediate return until she’s worked through some issues. Coincidentally in season 2, we also find that Lucifer, sick of either getting locked into or out of cars, has secretly copied the Detective’s keys. To a godly extent, does someone out in the universe have a copy of the key to the flaming sword and will that impact s3?
At some point in season 3, Trixie needs a pet, and Lucifer should be pivotal in that process, thus reaffirming the Trixstar dynamic. Since Lucifer does not like the idea of cats and litter boxes, I highly recommend a puppy be shared between them. Unless Chloe is allergic, which in itself could be an extra level of storytelling.
Also, after Trixie’s “wusses don’t get lollies” remark, I would pay a good many things to see Lucifer and Trixie duke it out in a thumb war. PLEASE.
Even though Maze pointed out that Trixie does a good job of cutting people with her words (as opposed to knives) will s3 present Trixie with an opportunity to kick butt with the rest of the #Tribe? Will she stand up to another mean girl or mean boy?
Trixie (Scarlett Espinoza) is a dream and has me heart. Is she going to continue to be the embodiment of goodness, or in season 3 and onward will we see any tween outbursts (possibly that Lucifer can relate to/ offer perspective on)?
On that note, I really would like to see more of pairings we don’t normally get. Dan and Ella, Trixie and “Uncle” Amenadiel, Amenadiel and Linda, Chloe and Amenadiel haven’t chatted in a while and they are quite fun, Trixie and Ella.
Oh, Ella as Trixie’s sitter, with a side order of territorial jealously from Maze. That’s a story.
Lucifer has become quite skilled at slight of hand and dodging about in two seasons, getting out of hand cuffs, cop cars, swiping keys. Is there anything that slight of hand will pay off for in season 3?
Chloe’s flashbacks to her dad and early days on the detective force were really some of the wonderful highlights in s2. Will we see more of her past in s3?
Will Lucifer serve Linda the (many) stiiiifff drinks that woman has earned? 
So far, we’ve uncovered Malcolm’s corruption in the LAPD and corruption of a prison warden. Any deeper levels?
I really would like to see more episodes a) with Dan as a uniformed officer, and b) solving cases. Because Alejandro is just a cool dude, in the words of wonderful Ella Lopez. 
I love Chloe, truly I do, but the more I see her goodness the more I want to see her on a bad day (aka - death by yoga mat part 2)
Season 1 and 2 walk an interesting line between comedy and tragedy/ dramatic, so I want to do some number crunching. Over the course of 13 episodes last season there seemed to be more onscreen dramatic and trauma related elements then over the course of 18 episodes in season 2, which still handled heavy issues but ultimately seemed lighter by a larger dose of humor. Will Lucifer season 3 tow a similar balance, be more lighthearted, or take on a darker tone? I am hoping a throwback to a more serious and mysterious tone. 
Well, we didn’t see Lucifer sick with a cold and whining as though he was dying in season 2 like I was hoping, but we did get to see him beat up and Trixie calling him a wuss, which is somehow even better. But it kind of makes me think about Lucifer injured and I’m curious. Given Lucifer’s growth, in season 3 would he cut off his nose to spite his face? That is in manner of speaking - given the opportunity to sever his wings again would he? Or do they mean something different to him now than they once did?
We’ve been speculating on and off since s1e1 that Amenadiel’s necklace had greater significance, along with Luci’s ring. One hypothesis paid off, will the other? I think it does has significance, but not in an imbued with power sense, more about sentimentality. After all, he gave away his wedding ring sans blinking, but this one he never goes without. I’m thinking perhaps it was a gift from a sibling - but that’s utter guesswork.
More to come surely…
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konoayaha · 2 years
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2022 vs 2018
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slayerbook · 7 years
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Talkin’ Tori
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This is one of my career highlights. I quickly talked to the goddess Tori Amos about her entire catalog (to that point), in terms of characters she was representing in the songs, and how the related to her real personality. At the end of it, she said it was a good interview. (And at the beginning, she said “Hi, Ferris!”) So I’ll take that.
Man. The vagaries of online content. One of my favorite pieces doesn’t fully exist online anymore. Writer brothers and sisters, never trust anybody to archive your stuff.
Little Earthquakes turned 25 today, which doesn’t seem right, but hey, you know? The “how’s that thought for ya?” from “Silent All These Years” might be the best STFU in the history of pop music. So, if you came to this blog for metal content, rest assured: Tori is metal as shit.
Anyhow, here’s Tori, from 2007. Various incomplete versions of it are floating around on some VVM-affiliated sites, but this is the full director’s cut. Some of the supergenius editors gave the pieces imaginative, reverent, respectful titles like “Piano Girl” and “Tori Goes Schizo” — I didn’t write that shit.
Content after the jump...
The Amos Posse
Patron Saint of Piano Girls Looks Back at the Women Who Sang Her Songs
       Tori Amos has taken to the road with the girls of American Doll Posse, her catchiest release in years. It’s her tenth studio album -- if you count the eponymous debut of her self-titled group Y Kant Tori Read, a cringe-inducing hair-rock serenading of material excess in 1980s Los Angeles, where she actually spent her early 20s scraping by, playing piano in hotel cantinas and bars.
       The new album finds that young singer grown into a mother and world traveler who’s riding with good company: The songs are delivered in the voice of four other characters, each further realized through her own costume and blog: Isabel the indignant politico photographer, Clyde the wounded soul-seeker, Pip the fierce rubber enthusiast, and Santa the glitzy sensualist. They’re also on tour.
            For this trek, Amos is performing sets over two hours long. They’ll close with a set by Tori and her band. She’ll play solo on her Bösendorfer piano. And she’ll take the stage dressed and in character as one of the Posse -- Amos says she doesn’t finalize a set list and decide which girl will perform until an hour before the show.
            Even if they can’t travel, Tori’s loyal legion can catch every show. The night of each concert – if everything goes as planned – official bootlegs called Legs and Boots will be available on ToriAmos.com.
            The cast of characters is the album’s narrative hook and talking point, but it’s not a new approach for Amos. After her proper solo debut, 1992’s starkly autobiographical Little Earthquakes, she’s since branched into more oblique lyrics and presented different characters in many of her songs. Amos talked to Scene about all her albums and the women who sang them. Visit blogs.CleveScene.com for an expanded version of Amos’ look at her entire catalog.
 Of the American Doll Posse characters, which is least like you?
“The least like me, the way I’ve known me all these years, would be Santa. She was patterned after Aphrodite [the Greek goddess of love, lust, and beauty, the counterpart of the Roman Venus]. I thought she was a tart. After really immersing myself in her story, I began to see how she would use her sexuality, and how she was really comfortable with her body. She didn’t live a life of guilt where men decided how she felt about her physicality.”
 Was The Beekeeper [2005] more a character or concept?
“I didn’t see it as a character. It was more about the structure of the garden, and I like the idea that songs were coming from an expression in nature. And we developed each song coming from a specific garden. And I liked that, especially since our Biblical story starts in a garden. As a minister’s daughter, I don’t accept that their read of history is the accurate read. So the Beekeeper was really about another viewpoint of the feminine coming from the garden.”
 And Scarlet’s Walk [2002] was more of an overt alter-ego?
“Yes. [Scarlett’s Walk] was a journey through America, post 9/11, trying to go back and cross the country, trying to find ancient sacred sites the spiritual vortexes that Native Americans have held secret and sacred. Scarlet is a woman, but she is a thread that is weaving across the country, trying to remember the story of the real keepers of this land, who had been practically erased from our history.”
 In the cover-songs album Strange Little Girls [2001], each song was a character-driven narrative. Did you feel particularly close to any of them?
“It’s not that I related to some of them more than others. I think [Eminem’s] ’ ‘97 Bonnie and Clyde’ was powerful, because the song itself – when you have a woman murdered in the back [seat of a car] -- I took the point of view that she wasn’t quite yet dead. And all men have to remember: When their wives aren’t quite yet dead, that’s the most dangerous five minutes.”
 To Venus and Back [1999] had some abstract lyrics, but was it pretty much Tori?
“You had a double album of the live show -- a collection of songs that had accumulated for many years, and then you had the future as we were approaching the millennium. It seem to me that the Earth, as it was approaching the millennium, needed a girlfriend. And so Venus seemed to me a friend for her to have.”
From the Choirgirl Hotel [1998] had some very obviously personal songs like “Spark,” but did “Playboy Mommy” or “Jackie’s Strength” represent a character?
“In a way, as you’re composing, the songs are their own entities. And they don’t have arms and legs, but they do have consciousness. As a composer, I’m able to contain the song and write it and translate it. Because you shape-shift. I make it as a half-decent playwright: Characters can embody you. They come and they visit.”
 Boys for Pele [1996] was based on some of your experiences beyond the average every-day. Where were you for that album?
“That album, I was stepping into, in a big way, the confrontational side of the psyche. And having spent some time in Hawaii with [volcano goddess] Pele herself, I was in a place where I began to question the authority of the male. So, in a way, I think there was a bit of Boudica, the great warrior women.”
 Under the Pink [1994] was departure form very direct, very literal Little Earthquakes. Did you see songs like “Past the Mission” as more of a creative narrative?
“I was spending some time in New Mexico, and I was studying the history of the Spanish and the conquistadors came in and set up the missions, and subjugated the native people to Christianity, because their beliefs were thought of as something of the devil, blasphemous. And, of course, that justified all [the conquistadors’] killing, slavery, and abuse. So I guess as a minister’s daughter, I’m made up of many characters – we all are. Any good writer, I think, maybe just allows themselves a little more freedom to let different aspects out.”
 Was Little Earthquakes [1992], as it seems, straight-up you?
“It’s a diary form, I would say – a journal. But you really can only write your journal once, in my opinion. I think you can maybe write it twice. But you need to have a lot of time lapse before you write the second one.”
 When you look back at Y Kant Tori Read [1988], can you relate to that girl, all these years later?
“What I understand about that is: When you get rejected as a composer for so many years, if you are a capable composer, you can pretty much compose anything. And my natural inclination as a writer was not going to be thwarted by the record companies, and I couldn’t sing in another bar for much longer; I’d done it for 11 years. So everyody has a different breaking point. And I realized: Unless I would write something that they felt they would sign, I was never gonna get out. So, of course, I chose to give them what I thought was a contemporary sound at the time, a pop-rock record. And I guess when you shop at Retail Slut one too many times, that’s what that’s what it’s going to look like.”
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my-anggar · 4 years
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Guitar Tab - U.N. Owen was her (Touhou 6: Embodiment of Scarlet Devil) O...
Guitar Tab - U.N. Owen was her (Touhou 6: Embodiment of Scarlet Devil) OST Fingerstyle Tutorial Sheet Lesson #Anp
U.N. Owen was her (Touhou 6: Embodiment of Scarlet Devil) Guitar Tab
Touhou 6: Embodiment of Scarlet Devil Composer(s): ZUN Style: Arrangement, Fingerstyle, Transcription Series: Touhou This song is also called Flandre Scarlett theme
UN OWEN WAS HER ? From Touhou 6 i used different parts from multiples covers on youtube to make this arrangment Intro from : https://www.youtube.com/watch?v=FZcRCS7aY_0 measure 62 from : https://www.youtube.com/watch?v=KDx-zdLxiW4 measure 66 from : https://www.youtube.com/watch?v=_3G5l5Ke85o Last part from : https://www.youtube.com/watch?v=cDz9X2X3MTc Also here his me playing it : https://youtu.be/QbfvN8FjkV4
Guitar Tabs, Fingerstyle, Tutorial, sheet, Melody, rhythm, Melody, music, Instrumen, tabs on screen, notes, cover, Belajar Gitar. Lesson, Tab Pro. (Fingerstyle Guitar/gitar Tabs games Anime Soundtrack)
Tag: -Learn How to Play -Fingerstyle Acoustic Guitar Lesson TABS #Tab #FingerstyleGuitar #Tutorial #Sheet #Guitar #Soundrack #Games #Theme #Ost #GameTheme #Anime
Tutorial Fingerstyle Guitar Game Anime & Theme Ost
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Why People Love to Play Touhou Project Anime Body Pillows?
Touhou Project is a series of PC-9801 and Windows scrolling manic shooter games created by Team Shanghai Alice's sole member, ZUN. Ever since the release of Touhou Project: Embodiment of Scarlet Devil for Windows, the series has gained a significant fanbase online.
The first five Touhou games were developed for the Japanese PC-9801 platform by a group called Amusement Makers. The first game, Highly Responsive to Prayers, was released in 1996. However during that time the PC-9801 was already being phased out due to the more popular PC platform, so these Touhou games were not well known. The last Touhou game released for the PC-9801 was Mystic Square  released December 1998 at the Japanese comic convention Comiket 55.
 After four years of inactivity, lead Touhou creator ZUN left Amusement Makers and created his own group: Team Shanghai Alice, whose members consisted of only him. ZUN started developing Touhou games for Windows by himself; all of the graphics, programming, music, and artwork was all done by him. The first Touhou game for Windows and sixth in the series, The Embodiment of Scarlet Devil, was released on August 2002 at Comiket 62. The Windows versions exceeded its PC-98 predecessors graphically and musically, and had a storyline as well. The game series has since became greatly popular.
Some of the Touhou Project Anime Dakimakura Pillows are:
1.Lzayoi Sakuya Anime Body Pillow
Sakuya is an accomplished cook, her cooking arm has been compared to her knife throwing arm by ZUN, implying that she is a skilled chef. It seems that Sakuya was not originally born in Gensokyo and the name Sakuya Izayoi was given to her by Ramilla Scarlett, another character in the game. Sakuya is the head maid of the Scarlet Devil Mansion. She once threw a great many knives at another inhabitant of the mansion because he was unable to keep unwanted guests out of the mansion. As a result of this behaviour, other characters often make jokes about Sakuya and this incident.
2.Saigyouji Yuyuko Anime Body Pillow
Yuyuko Saigyouji is the ghost princess of Hakugyokurou, the netherworld of the "formerly-living", but was once a living human. Long ago, after her death from suicide, her body was used to place a seal on the Saigyou Ayakashi, a dangerous youkai cherry tree, to stop it from killing innocent humans. She has the power to invite mortal souls to death, and those souls who perish this way wind up in Hakugyokurou rather than Heaven or Hell.
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Reimu has a tendancy to become irritable when she is not exterminating yokai beings for an extended period of time. Reimu possesses very strong powers, even without having undergone any significant training to improve her abilities. She is believed to never use her full power for fear of losing control and causing irreparable damage. Reimu is featured in all the Tohou Project games and some other related material.
4.Kotiya Sanae Anime Body Pillow
Sanae Kochiya  is a human, but is also a distant descendant of the goddess Suwako Moriya. Her role at the Moriya Shrine is similar to a shrine maiden, but with her inherited power Sanae has also become a minor deity herself. Originally from the Outside World, Sanae migrated to Gensokyo with the shrine and its two resident goddesses, Kanako Yasaka and Suwako Moriya. As a result, she is rather knowledgeable about the outside world and modern living, although her attempts to explain scientific concepts usually just confuse the locals. Her knowledge on things like the youkai of Gensokyo, on the other hand, seems a bit lacking for a shrine maiden.
5.Patchouli Knowledge Anime Body Pillow
 Patchouli Knowledge is a witch and resident of the Scarlet Devil Mansion in the library. She's friends with the mistress of the house, Remilia Scarlet, and acts as resident librarian. She's known as a highly capable, experienced, and studious magician, usually found researching the countless tomes within the house library. But her great abilities are offset by her poor health, caused by long-time reclusivity and asthma.
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