MBTI types when they're with someone they hate/dislike
They sense the whole room's vibe go down. Being the fun loving people they are, they ignore the person giving bad vibes and try to get the mood up by suggesting a game, challenge, etc. They hate to dwell on the negative
They distance themselves as physically possible from the person and look for comfort from friends. Like the ESFP they don't like to dwell on the negative and prefer to look on to their close friends to bring up their spirits
Tries to avoid the person but is tempted to do a prank or joke on them for fun. They obviously don't mean physical harm, but just a fun opportunity for them
Has their "introvert mode on" at max. They are very snappy if the person talks to them and doesn't really consider their feelings when replying. They prefer to escape the situation to save their sanity
Being the kind hearted soul they are, they try to treat them like any other person. However whether they like it or not, they low-key give passive aggressive comments disguised with a "caring and happy" expression
Much like ESFJ except less noticeably passive aggressive. They actually may trick the person into thinking they're okay with them, but then ISFJ blows up to their close friends when they leave
Tries not to let their personal dislike to the person get to them, but it low-key does. They are more picky, impatient and dry when watching the person do something. Constant questioning them why they did what they did and how they SHOULD'VE done it. Actually they'll probably kick them out for being "irritating" or "slowing others down"
Pretty low-key about their distaste for the person. They silently criticize and judge what the person does but doesn't let them know. They believe heavily in karma and they are most likely to wait for the opportunity to screw with them at the right time
Their happy-go-lucky mood is instantly dropped. They wish to not confront or come in contact with the person and may hide within their friends. They will try to keep up their normal behaviour but those close to them will notice their change in mood.
They may physically act very uncomfortable but will try and keep it together. They may be silent, almost as if they were daydreaming or trying to get their mind on to something else. As natural kind-hearted people, they wouldn't want to do anything to that person and will try to be civil with the person if confronted.
They'd probably to just ignore that person's existence. They believe they don't need that kind of person near them and will do everything they can to just shut them away from their line of sight. Out of sight, out of mind.
you can tell by their unfiltered facial expressions they don't agree with that person being there. Depending on the level of hatred, they will either try to low-key troll them or just full on ignore them. They don't have much empathy left for that person so whatever they do, they won't regret.
Truthly ENFJs can be very vicious and might want to get back at the person. Of course they'd adhere to social rules and somehow turn the situation on to the person. It's easy for ENFJ to manipulate and sweet talk others into their side.
More uncomfortable than usual around that particular person. They may want to immediately escape to be alone and calm down their thoughts. Then later go on a long rant to their friends about all the "stupid and dumb" things that person did and how it relates to them being a bad person
even with their scary reputation, they are probably more likely than ESTJ to avoid prejudice. They definitely will be a lot pickier and impatient, but will evaluate the person's actions and work objectively. Obviously they will be very high-key frustrated but will overall try to not let it get the best of them
They will either go full "annoying nerd" mode or "don't breathe the same air as me" mode. They will continuously try to correct the person, trying to make them feel stupid or get annoyed by jusy their presence. They may not try to come after them but it will be clear when they would wish that person wasn't there.
The romantic writing of Dean / Cas (through deleted scenes)
OK, so full disclosure. This started as a simple answer but turned into a whole thing about TPTB and the meaning of deleted scenes and kind of therefore ended up as a Tink’s own small version of a masterpost of the writing of Destiel.
For me, deleted scenes are really important. They made their way to the DVD anyway so are part of canon, lets start with that. But they are deleted for a reason. And before that, they are though up, written, authorised, acted and edited for a reason.
For me the deleted scenes I list below are a big, core part of why I believe Dean and Cas are written romantically and that this is canon. Whether they decide to follow through on it is another matter but I and I know a lot of others agree that they are clearly written romantically and these deleted scenes uphold that. Then they are deleted. Now, some deleted scenes are for time but as you can see here, these scenes often hold key information regarding the overall narrative so clearly they are deleted because of the strong Destiel references. I like to believe this is because they just want to drag it out instead of completely get rid of it from the show, I was worried I’ll be honest before mid season 11 but since then I’m tentatively positive in that I believe the tides are turning and they will textualise Destiel properly and stop deleting these kinds of scenes, especially since season 12 has had so many similar scenes go through to the final cut…
The important deleted scenes for me regarding Destiel are:
1. The deleted scene from 10x23
Cas states clearly that his time on earth has been more important to him than any time in Heaven and Sam and Dean are like family to him.
As always Cas’s scenes that are just too emotionally compromising or hint too deeply at his feelings for Dean (even if Sam is lobbed in there too) are deleted, BUT this in particular has now been addressed in 12x12! So….fingers crossed?!
2. The deleted scene from season 9
THIS IS MY FAVOURITE, IT IS SO IMPORTANT TO THE WHOLE SHOW, to the whole of the narrative for Cas and Crowley.
This one scene just kills me as it sets up Cas and Crowley’s whole arcs for the whole show and yet it is deleted because, clearly, no homo. As otherwise it is an excellent scene to shed light on two of the core characters of the show and reveals their motivations for their actions, which is what a lot of the fans have struggled with, saying these 2 characters are stale.
In this scene Cas and Crowley discuss how they ‘dislike’ being human and how it’s so not worth it and why would you want to be human anyway (the underlying feeling being that they’re both lying and there is a reason they would like to be) - and then Dean immediately walks in and they share a glance. This is….. expositional screenwriting 101 ?
I mean this is a classic - in fact it reminded me so clearly of the opening scene of a classic romantic supernatural love pairing in the cartoon Beauty and the Beast - the narrator says “for… who could love a Beast?” - and it CUTS TO BELLE’s introduction…
And yet they cut this scene. And it means we don’t get a clear narrative reason why Cas and Crowley do what they do and are who they are, and casual viewers who don’t look into things as deeply as all of us are confused and think they’re stale and uninteresting.
Without this scene only people who really look into the show in huge detail, dorks like me, will know that Cas and Crowley are mirrors of each other and both their arcs up to a point revolve entirely around Dean Humanity Winchester.
Yes. That is what happens when you cut important scenes for a stupid reason, the whole show doesn’t make sense and fans get annoyed. *facepalms*.
There are probably people out there who think Cas still wants to be an Angel pffff because he said “I just wanna be an Angel again“ that one time. Yeah, that one time he thought Dean was dead and there was nothing left for him and he knew being a proper Angel would lessen his emotional pain and give him a purpose to focus on. But then, as soon as he learned Dean was still wandering the Earth he just… hangs around, pining, languishing in the blue bathrobe of despair, hoping to fix him.
And when he finally does get some grace back (FROM CROWLEY - these two are so interlinked Chuck help me what a great narrative if they actually showed it properly) he doesn’t WANT the grace, Crowley doesn’t really want to give Cas grace either but he does it FOR DEAN, and Cas, he allows Crowley to do it FOR DEAN. This then also reminds us how earlier on when Cas steals his first lot of grace Dean asks Cas if he’s cool about being an Angel again Cas deflects and says he needs it. Not wants it, but needs it to fight.
WHY does Castiel not want his grace back? WHY might Castiel have learned to love ‘humanity’? WHY might Castiel want to be human?
This scene is not only is great for it’s own individual reveal - Cas and Crowley jealously pretending they dont care about Dean and perhaps he is the other’s boyfriend, even using the term boyfriend, I mean, guys. Could this be clearer?
But this also just ties in to the whole end of the episode where Dean hands CAS the first blade instead of returning it to Crowley. HE CHOOSES CAS! THIS IS SO IMPORTANT (and is easily overlooked as it was deleted for *reasons*).
This, in an episode where Cas is clearly narratively paralleled as Dean’s Colette, where Dean is scared of losing himself and in a call-back to the season’s start and call-forward to the season’s ending Cas is desperately trying to save him and stop, to keep his humanity….
So, in conclusion…
There is a recurring theme of Destiel (and Drowley) - heavy scenes being cut and this is hurting the narrative of the overall show. It’s not that these relationship are written into the show to begin with that is the problem as they are key to so much of the overall story arcs but the fact that they are written in, used extensively as key points in the story while being kept in the subtext and then when there is an opportunity to make it textual to make it make SENSE to the narrative it is so heavily affecting, these scenes are cut.
*FACEPALMS SO HARD INTO MY KEYBOARD*
Why are they hurting their own show by doing this?!
So yeah, it’d be lovely if they actually showed these scenes that explains WHY things are happening to the casual viewer and Destiel shippers weren’t sometimes made to feel like we are grasping at straws.
Newsflash, it’s like a milkshake bar there are so many straws in this show, everyone involved knows about it and plays on it and CONSISTENTLY WRITES IT INTO THE MAIN NARRATIVE.
Just search Amara on my blog, the whole of season 11 doesn’t make sense without Destiel. If God’s sister herself reveals that Dean represents humanity after the fandom had that meltdown after Metatron’s ‘in love with humanity’ speech, DURING a scene interspersed with Metatron just to remind us ;) If God’s sister has to work through the Dean / Cas longing to reach Dean, uses Cas to manipulate Dean, keeps talking to Dean about love and hiding things, holding back, if Dean calls out to Cas while in Amara’s presence and pretty consistently only cares about Cas during these interactions where Amara is present, even though they themselves are bonded by the mark, one of God’s most powerful creations…. please.
And season 12 basically is one long Cas-focused parallel so they know what they are doing at this point. I want to trust Dabb but we have been burned before so… tentatively fingers crossed on this one now.
It’s just so freaking stupid to build a gorgeous story and through Chuck knows what, I like to hope it’s not homophobia but at these points I feel like what else can it be, they ruin their own narrative and make the story just flounder, not making a whole lot of sense because they are not following through on their own narrative and we are therefore MISSING INFORMATION!
We are tired of waiting for this all to make sense.
So I recommend anyone and everyone pay attention to deleted scenes. They are scenes that show that writers have noticed all the other subtext themselves in order to add to it, then thought about, written, acted out, edited and at the last junction been ripped out, and from these scenes it’s clear why, they all share a focal point - canonising or at least heavily clarifying the subtext between Cas and Dean and/or Crowley and Dean.
Because it is there, we are not insane. If it gets so far as to get acted out and left on the cutting room floor then it’s there and there’s a reason it’s been cut.
I get so mellow on cloudy/rainy days and nothing is more low key and cozy than overalls. These are my favorite pair and I got them a couple years ago in Paris, France. Overalls usually come with a ton of pockets so no need for a bag. We are going for a mega minimalist look.
I love pairing overalls with a turtleneck because it’s an instant look that allows both pieces to stand out. The contrast of the yellow and black colors brings more life and dimension to this super basic outfit. Hoops or statement earrings can glam up the conservative style of a turtleneck and add a girly touch to the boyish silhouette of these overalls. + white adidas for a clean swaggy feel to bring the look home!
I honestly tried so hard not to ship Destiel but it's just one of those ships y'know you just kinda accidentally ship and I really don't wanna cause some of the fandom is kinda toxic but I can't help but to ship it
Honestly, I’ve never shipped anything before (I liked it when Spike x Buffy did eventually go somewhere and was kinda beautiful but I didn’t really ship it), I didn’t even know what shipping was until I found tumblr a few months ago, I’m mostly straight (I’m a bit fluid but meh, mostly straight), and I never really thought about representation that much beyond ‘yeah, thats a great thing, there should be more of it’.
So I just watched the show (on my own) with no previous knowledge of anything at all and…. well…. it was so obvious?!
I mean, I just binge watched the show last year because I love sci-fi and I was in a bit of a bad place and needed a distraction and had watched all the Buffy/True Blood/GoT I could and was looking for something new.
I loved seasons 1-3, I did, but then, enter Castiel and literally, my life has kind of changed?! I have an obsessive personality anyway but…. jeez. What a character and WHAT A ROMANTIC GLORIOUS LOVE STORY!
And then it just dragged… and dragged…. and yet also GREW so much?!
So, like, what exactly are they doing? Well, I believe they know exactly what they are doing, especially since Dabb took over, but hey, let’s see…. but my blog description is ‘endgame Destiel positive’ so you know what I mean ;)
It’s all THERE, they all know its there, the writers USE it in their plots, the editors make it visually obvious, it’s even referenced in the show, the actors all KNOW, I mean come on!
It’s not our fault if they use all the romance tropes with these two.
I think it is very relevant that so many Destiel meta-writers and shippers have a background in understanding stories, being teachers, journalists, book worms, cinematography students etc etc and therefore can make pretty good conclusions from the material that is being shown.
I mean, the overall story of these two characters is that one is a fallen, rebellious Angel who just wants to feel Human and belong somewhere and loves caring for others and one is a faithless man with abandonment issues who just wants someone to stay with and care for him.
Said fallen Angel rebels and does it, all of it for Him, eventually looking to Him instead of God, is in return called ‘family’ and cared for himself.
Said Human learns to have Faith in and through his Angel and through this in himself, which is a key part of his overall story in the whole show.
Their story is like so many rom-com, shakespearean and classical for that matter love/mythical stories where they start out on opposite sides and kind of meet in the middle you know? The idea being that they ‘complete’ each other and lead themselves to be the best that they can be and who they really are and want to be deep down? As these two clearly do?!
I’ve said before and I’ll say again, Dean and Cas are canonically central to each other’s CORE CHARACTER DEVELOPMENT and their endgames are INTERLINKED.
I mean, if this was a guy and a girl and it was a movie, so all the story was shown in 1h30 minutes and at the end they were like oh, no, but you see, they’re just FRIENDS. Literally everyone would just be like WHAT?!
The fact that Disney movies and romcoms are so highly parallel-able with Destiel, because it fits that literary box - as a romance, not a buddy story or a drama or even a familial story, it does up to a point, but it definitely transcends this and moves into romance realms pretty early on, like, season 5 FFS.
It’s not our fault, the show made us do it.
If fandom wank is a problem for you, well, I don’t like it either, I guess no one does apart from the ones instigating it who seem to get a high off it, I just blacklist on tumblr and I don’t attend cons, so… meh, I have this gorgeous little space where we all know and all discuss what is happening and it is lovely, feel free to join us :)
“You lied to me. You said you’d keep me safe but the deal you made with Azazel - you saved Dad’s life but there was a catch.”
[Tight on Mary, Dean is getting to her]
“On November 2, 1983, Yellow Eyes Waltzed right into Sam’s room, thanks to your deal. After that…”
Well, I feel like Mary is really important (duh) to Sam and Dean but not just because she’s their mom and she’s back bla bla but because Amara brought her back as something Dean needed and Dean has been letting his facade down this year… Amara didn’t say anything about Sam but Mary is clearly having a massive impact on him too.
I go back to my general POV that Dean’s personal end goal is self acceptance and Sam’s is self forgiveness.
Well, we have had a lot of both this season! Which I’m super excited about. Dean’s self acceptance in letting his facade down more and more and the whole of 12x11 proving this point expositionally. Sam also has faced forgiveness by facing Lucifer and by transfer of guilt about Azazel away from himself (when speaking to Magda in particular in 10x04), by Mary blaming herself (Mary in 12x01) and Sam “what have you gotten us into Mom?” in 12x12.
SO I think Mary is going to be key to both these parts of their story but also key to the overall season of course.
Here I’m very excited about the fact that Dean is being honest. I wrote this post yesterday about Sam’s view of Dean that I was a little worried might come across negatively but I have had amazing feedback from everyone which is awesome, but even when people don’t agree on everything, for example @godshipsit, we still agree that honesty is of key importance for Dean now and moving forwards.
So I’m hoping that this excerpt looks very honest and I hope that the end of this sentence is something along the lines of Dean textually telling Mary that he had no childhood, that he lost everything, that John was not the great father Mary reminisced about in 12x02, although I think she knows it by now, its still important for him that he says it himself. This doesn’t just allow the conversation here to be had but is another part of Dean’s wall coming down and letting out these repressed feelings, which will help with his whole personal growth and will affect his relationships with Sam and Cas too as well as Mary.
Thus, Mary is so key for all this emotional growth as well as the season’s overall arc so I hope this is what this is referring to…
Also putting my Destiel shipper hat on, well its already on, but pulling it all the way down over my eyes and ears, letting it take complete control for a second…. I’ve just wanted for forever since Mary was resurrected at some point for Mary to turn to Dean and just say “hey, you know the way Cas looks at you… it’s how your dad used to look at me….” and smile softly in blessing. I need this.
So this ‘you saved Dad but there was a catch’ thing…. I can’t help but think of Cas saving Dean with the catch of cosmic consequences…. (because we all know Dean meant for it to be him to die with Billy…)
I feel kind of awful discussing Satine Kryze after so many weeks of Maul but, well, when in Mandalore…
Duchess Satine Kryze is pacifist the ruler of Mandalore first introduced in The Clone Wars episode The Mandalore Plot. Her initial design was drawn from an unused McCaig concept for The Phantom Menace, but it has also been stated that Cate Blanchett was a key influence in her overall design. (given the appearance of Governor Pryce in Rebels season 3, it’s apparent that Blanchett is someone’s favourite over at LFL.) Blanchett’s role as Queen Elizabeth I was particularly drawn on, Satine’s key costuming borrowing many late Tudor/early Elizabethan elements, and certain parallels between the two women’s lives.
L: Elizabeth as portrayed by Cate Blanchett with Robert Dudley (Joseph Fiennes) in Elizabeth. Preparing to be escorted to her incarceration in the Tower of London at the order of her sister Queen Mary I (’Bloody Mary’). R: Satine Kryze being rescued from her imprisonment by Obi-Wan Kenobi in Lawless.
Satine, as a young woman, lived her early years constantly at threat during the Mandalorian Civil War, her pacifist ideology at odds with ‘true’ warrior-like Mandalorian ways. Eventually peace was brokered, and Satine ruled over the New Mandalore even as violence, danger and oppositional factions brewed. In a way this could be seen to draw from Queen Elizabeth I’s tumultuous childhood: first as a child out of favour with her father King Henry VIII, being the child of ‘treasonous’ Anne Boleyn, then as a protestant young woman in the reign of her Catholic half-sister Queen Mary I. In this time Elizabeth was raised as a figurehead for Protestant rebellion, which eventually led to her detainment in the tower of London despite her claim of innocence. Throughout her reign Elizabeth faced a number of incidents of opposition from catholics and the Roman Catholic Church, though her attitude was one of pragmatic compromise in many aspects of religion. These parallels are loose but notable in their broad brushstrokes.
Original Amidala sketch by Iain McCaig for The Phantom Menace
When designing Amidala for The Phantom Menace, McCaig was working through a ‘Space Nouveau’ aesthetic, borrowing elements from the works of Mucha, the Pre-Raphaelites and retro-futuristic romance of the first half of the twentieth century. Technology and nature in harmony. This design, when stripped back for animation to be practical, emphasised those now notably familiar Star Wars lines that borrow from Japanese fashions, whilst still retaining the Romantic aspects. the shapes of Satine’s headpiece echoes the increasingly elaborate ruffs and wired collarettes that grew exponentially throughout the fashions of the sixteenth century. The headpiece and gown are also heavy with symbolism: shell earrings and embellishments, the repeating petal shapes in her sleeves, skirts and tabbards as well as the literal lillies woven into her hair and headpiece loudly communicating her pacifism. She is visually placing herself within her own principles for all to see, decrying the past violence of her people, and the relative simplicity of this costume despite its ceremony (block colours and controlled embellishment - though the fabrics are clearly indicated to be silks) saves her message from being drowned out. These symbolic embellishments have been a popular aspect portraiture for centuries to communicate and sway power and impressions, in portraits of Elizabeth I the symbolic choices appear in their multitudes from props to tiny embellishements to the very styling of her hair. In the famed Rainbow Portrait (below) of Elizabeth I - a fantasy portrait painted late in her reign, but depicting a young newly crowned queen dressed for masque - embroidered eyes and ears show that she is a queen that Sees and Hears all. A queen in absolute control of her land.
L & C: McCaig’s design reworked and streamlined by Killian Plunkett to work both within The Clone Wars aesthetic and for the character. This is a great example of concept recycling and adaptation for character, as when this design was originally selected as a base design for Satine, it wasn’t known that she would be quite so active and ‘dynamic’ as she ended up in the episodes. [X] R:The Rainbow Portrait, 1600-02, attributed to Marcus Gheeraerts the Younger.
This organic silhouette at odds with the old is also visible in Satine’s landscape. Mandalore was designed drawing heavily from the Cubist movement in the most literal way. Their cities are built inside cubes within their destroyed environment. Sharp angles occur in everything from buildings, hair, food and ice cubes, floor texturing. Interspersed throughout are the diamond shapes and lines of Mandalorian armour, shifting into an Art Deco boundary between the Cubist harshness and Satine’s Nouveau romance. This mid-design point means that Satine is not entirely in opposition with her environment - her world and her people. These diamond shapes are present in the cut of her open oversleeves. She visually acknowledges Mandalore’s history whilst representing the new. (Equally, this could be seen in that her costume - despite it’s ceremony - holds little impediment to action and self-defence when necessary.)
The main plaza on Mandalore, clearly showing the Cubist influenced design, complete with detailed mural depicting the war with the jedi, and repeating diamond shapes.
Satine’s next notable costume looks a lot like she just walked out of an ‘80′s fantasy film and it is fantastic. The romance is heavy in this look with the long, soft lines and the muted pinks, particularly as she and Obi-Wan investigate the Death Watch on the industrial Concordia. She wears a shortened surcoat that mimics the cut of a man’s doublet, a fashion that was favoured throughout the sixteenth century, and appeared in both French and Italian fashions (Italian styles fell out of favour in much of Europe in the latter half of the century as Spain became increasingly influential.) This fashion has appeared, heavily embellished, in a number of portraits of Elizabeth I, reflective of her dichotomy as woman and sovereign, as expressed in her famous address at Tilbury,
I know I have the body of a weak, feeble woman; but I have the heart and stomach of a king
Satine’s ‘80′s adventuring costume.
The harsh cutaway style of Satine’s surcoat also mimics late eighteenth century frock coats and equestrian fashions, clearly communicating to the audience that is Time For Adventure! even whilst calling back to the late Tudor fashion for skirts cut to reveal heavily embroidered petticoats. Again, echoes of those Mandalorian armour diamonds are introduced in this cut, whilst organic elements are retained in shell detailing and the floral line of her chemise. Satine, too, must address her dichotomy of being in her very appearance.
L: Portrait of Mary Stuart (aka Mary Queen of Scots), c. 1559, Francois Clouet. R:Portrait of a Noblewoman, c. 1580, Lavinia Fontana. Mary Stuart is shown in a French doublet-styled bodice, whilst Fontana’s portrait is in the Italian giuppone style. The possibility of a Mary Stuart influence in Satine feels particularly apt given their mutual martyrdom. Mary, a devout Catholic who also lived a tumultuous life at odds with her country, was executed by Elizabeth for her movements to depose the heretical English queen.
Satine’s final costume - in both its forms - is by far her most interesting and most historical. Its basic silhouette is a slimmed down take on the late Tudor/early Elizabethan bell shaped gown using the verdugle, or Spanish farthingale. As I mentioned above styles were influenced by politics, and the Spanish styles were favoured from the marriage of Katharine of Aragon to Henry VIII until late in Elizabeth I’s reign, when French fashions were favoured due to threatening war with Spain. (Anne Boleyn was known to have been bold in her favouring of French fashions as a couriter in the time of Katharine of Aragon, though styes were generally mixed.) Obviously Satine is not wearing a farthingale - it would be impractical, and her gown is later stripped away. But this is a politically influence shift in style: the symbolism in dress is stripped away, the flamboyance is gone. I have joked in private that maybe Satine borrowed the Naboo royal dressmaker, but there is little doubt that her ceremonial costume was designed with an eye to the wider galactic stage and what would be recognised as regal garb. This is a much stricter silhouette - upright, austere though still richly (but subtly) embellished. It is a design turned inward. Those Cubist elements are creeping into the lines of her skirt as she is taking a stand for her people and for New Mandalore.
L: Duchess Satine Kryze in Shades of Reason. C: Elizabeth I when a princess, c. 1546, attributed to William Scrots. This early fashion for oversleeves is also evident in Satine’s first ceremonial costume, as is the split skirt. R: A Young Lady Aged 21, Possibly Helena Snakenborg, Later Marchioness of Northampton, 1569, the British School (a personal favourite.) Here you can see shoulder rolls and the broad neckline with delicate open infill.
Again, we are seeing a dichotomy between the feminine and masculine, her sleeves and stand neck calling back to those borrowed from the pourpoint doublet, the sleeves studded and bracciali, shoulder rolls, taking on the look of armoured pauldrons. The broad neckline introducing that diamond shape yet again and placing it directly against petal shapes of the stiff stand collar mimicking the guimpe, typically soft infill, now strengthened and yet vulnerable and exposed. Satine is strong in her beliefs, but the ground beneath her feet is vanishing rapidly.
As this arc progresses, the costume is ripped, stripped away and softened. Embellishment - such as her jewels and belt - are removed, her hair is loose, her skirt shortened. It is here that those Cubist elements become even more apparent in the front tabbard-like section of her skirt, echoing the split-skirt Tudor fashion. Interestingly, these stylistic elements were favoured by Elizabeth when she was young, unstable in her position as princess and then, later, queen.
Satine Kryze, deposed, imprisoned and the worse for wear.
It is relevant to notice at this point Satine’s colour palette. Her main colour is blue - particularly this deep prussiany blue - feminine whilst also strong. The colour of Mandalore. She and her people are not part of the war, but at this point she is caught - personally - between the personal vendettas of Maul and Obi-Wan, both of whom are sliding into bloody reds and browns. She is the middle ground, trapped. Pinks and reds emerge in her costumes at various points when she is knowingly heading into danger, the pinks of her Adventuring costume, the red of Coruscant costume when she is on the run in The Duchess of Mandalore. Satine’s primary ceremonial gown has elements of purple and greens - she is in power, and in control. A ruler in her prime. But in this final arc she is blue and stripped of everything but her principles, and yet perhaps at her most Mandalorian? Considering Padme’s watery funeral gown, it appears that blue is the colour of martyrdom.
Next Time: The path unfollowed: the heroics of Padme & Leia
Last week, there was an anon who inspired me to put together a post about herbs I’ve used alongside shadow work. So here it is. Admittedly, I don’t work with herbs as much as I’d like, but I thought I’d offer the bit of the experience I do have with the handful of herbs I’m familiar with.
Sage is a go-to for many practices. I consider it a jack-of-all-trades type, though the one thing it definitely masters is cleansing. That being said, I use it predominantly to cleanse both myself and my environment by burning it, usually before and after I engage in “sit-down” shadow work (i.e. journaling, tarot, premeditated rituals).
Chamomile is soothing and meditative for me. For the relaxation effect, I burn it or make tea with it.
Analyzing dreams is an enlightening exercise to use for shadow work and chamomile tea is a great way to induce them. Steep 2 tbs. of dried chamomile flowers in 1 cup of nearly boiling water for 5 minutes or so, then add some honey and a squeeze of lemon, and voila! You’ve got a delicious bedtime beverage that has the potential to aid you in shadow work.
Similar to chamomile, lavender is great for relaxation and sleep. Burn it or use some of the dried flowers for tea (it goes well with chamomile).
Where sage cleanses, lavender uplifts and comforts. I burn it during and/or shadow work sessions or just anytime I’m feeling down. The smell of it offers instant encouragement for me.
Another herb that serves to induce dreams is calea zacatechichi (aka calea z). This stuff can be a little more abrupt than chamomile, but I’ve found its mild effects interesting.
Cleansing, Protection, Healing
Rosemary is a promoter of general well-being. I typically use it in baths and body scrubs. I sometimes take ritual baths for shadow work– water is a great element to work with in this arena and I find that it’s refreshing to physically cleanse afterwards using a rosemary-lemon salt scrub.
Self-heal, scientific name being prunella vulgaris, is a wonderful little herb I discovered growing in my yard this past spring. It is said to cure a myriad of ailments. I’ve only really used it in homemade incense so far, which I found to be very earthy and grounding. I can see it having the potential to facilitate assimilating and healing from past traumas.
Though I’ve only dabbled, I feel confident in saying aromatherapy is a helpful practice to incorporate into shadow work. I’ve found lemongrass oil to be uplifting and revitalizing, great for the recovery process.
There is something so empowering about the smell of eucalyptus. I use it in my baths or I dab a bit of oil on my forehead while introspecting or meditating.
For me, tea time is introspection time more often than not. Something about sipping on warm tea just makes me want to think. Coffee does this, too actually, but my thoughts are inclined to become a little more exacerbated when I drink coffee, so I recommend tea.
Relaxation, Introspection, Preservation of Sanity
Now, this is where this post may be a wee bit controversial, but marijuana has been a huge help for me. It’s served as a natural antidepressant and I respect and appreciate it tremendously for that. But there is a downside, you can become dependent, and it can start playing with your shadow– it can cause you to become complacent, agitated, depressed, over-analytical, paranoid, etc. Moderation and discretion are key.
Overall, I’ve found that marijuana teaches patience, appreciation, and acceptance, all things that are of tremendous value to the process of shadow work. But you must be careful not to let it become a distraction or a crutch, because it can very easily.
*For the record, I am not recommending the illicit use of marijuana. This information has been provided as a means of sharing my experience, not directing others’.
Other herbs that I believe may be useful for shadow work include mugwort and valerian. Mugwort would do well for dream induction/recall and perhaps even memory recall. Valerian would be useful for relaxation and countering anxiety, as well as for sleep and dreaming.
Pairing: Kuroo Tetsurou/Tsukishima Kei (feat. yamayachi and kagehina)
Summary: Despite his desire to deny it as much as possible, all Kei wants is to spend the weekend with his boyfriend. However, the universe seems determined to make him suffer, and an interruption comes in the form of his happily dating teammates, all of whom have no clue about Kei’s relationship. Great.
Note: So glad to finally post this! This was a request for @lena-lady !! I hope you enjoy it <3 Big thanks to @emeraldwaves for reading this over ^^
And this is what I wore yesterday! First time wearing overall shorts! I was surprised that they looked as good as they do and were as comfortable as they were (though I do have to be careful when I wear them because of their roughness and my spd) when I tried them on at the mall. ^_^
Stockings~ Sock Dreams
Shoes~ Vans/Hello Kitty
Everything else~ off brand/etc.