single mindedness

2

Poe’s arc is one of evolving from a heroic soldier to a seasoned leader, to see beyond the single-mindedness of winning the battle to the larger picture of the future of the galaxy. I think Leia knows she won’t be around forever and she, with tough love, wants to push Poe to be more than the badass pilot, to temper his heroic impulses with wisdom and clarity. - Oscar Isaac.

MBTI Types When They’re Not Thriving OR Surviving

Scl(any sort of stress/sadness)

INTJ: Super withdrawn, swings between gratification and wanting happiness, and unhealthy single-mindedness. Existential angst. Needs people’s support but rejects company. Bottles up issues and then it bursts out.

ENTJ: Prone to attack others, often over the very issues they’re insecure about. Becomes a workaholic and ignores feelings of deep dissatisfaction, or stops giving a crap about anything. 

INFJ: Despairs of all things, just can’t see The Point of it. Goes through days mechanically, without purpose. Resists all help, considering it to be probing. Can’t get anything done. 

ENFJ: Laughs a bit too loudly and smiles a bit too widely. Escapes to private places, but feels lost. Tells their problems to someone close to them, but doesn’t accept any advice.

INFP: Isolate, isolate isolate. Sees the negative in everything and can’t see others’ love/affection for them. Loses their ‘purpose’ and drive, can’t find meaning in anything. Idealizes what they can’t have. Perpetual self-pity-party. 

ENFP: Super excitable, overdoes everything. Cannot focus at all, and their own emotions/reactions are out of their control. Breaks down sobbing. Unwilling to actually move forward. 

ISFP: Mull around in their own feelings, hates the world around them, because it’s failed them. Spiraling moodiness, “what ifs,” “should’ve done this,” but no one will ever see that. They themselves won’t admit it.

ESFP: Unusually critical, closed-minded, and overly concerned with matters of appearance over substance. Terrible sense of logic, yet argumentative all the same. Delves into the physical world in order to escape their mental one. 

ISTJ: Scattered mind, unable to think coherently. Becomes judgmental and passive-aggressive. Super pessimistic, takes on a me vs. the world mentality.

ESTJ: Intensely prickly, will take offense at anything but prefers to strike first and strike hard. If you hit a nerve, they’ll cut you out of their lives (for the time being). Tries to act happy and in control, but actually really moody. 

ISFJ: Withdrawn, tries to please everyone but is really passive-aggressive about it. Takes on a martyr complex. Refuses help while throwing a pity party because “no one cares about them.” 

ESFJ: Seeks control of people and surroundings, bossy and irritable. Might manipulate others into feeling bad, too. Denies that they’re the problem. 

INTP: Makes a lot of jokes about how things aren’t okay, but aggressively resists anyone’s sincere attention. Turns flat and emotionless, takes compartmentalizing to an unhealthy extreme. 

ENTP: Scatterbrained, cannot focus. Swings between extremes of emotions, but makes a point to show a falsely sanguine face to people. Feels like they’re crumbling from the inside. 

ISTP: Compulsive and reckless. Has a “screw this” attitude and pushes away actual problems. May or may not confide in people, but too down to take any advice. 

ESTP: Use bravado and ‘self-confidence’ to mask their insecurities. Get a rush from attention, whether it’s positive or negative, and thus seek it out. Obsessive mentality, particularly concerning negative outcomes.

[Major Spoilers] “Follow your true feelings!”: My Musings on P5′s Wildcard Couple

Can we talk about Morgana’s astute observations regarding Akechi’s true feelings for Akira? Can we talk about how (Morgana’s words–not mine) Akechi’s smile when he was hanging out with Akira had been genuine? This boy– who had distanced himself from everyone, who had wrapped himself up in layers upon layers of lies that he wears like a second skin, who had made revenge his one and only goal in life – had also, in spite of himself, serendipitously found kinship in the one boy whom he has decided that he has to kill. 

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anonymous asked:

That 'its lexa' scene killed me, like, clarke looks like she's about to break into pieces....

That scene is as brief as it’s impactful and excruciating. For Clarke, it’s the climax of an emotional journey she had to endure throughout the whole episode and it’s raw to watch and experience and it just leaves me so heartbroken for her.

From the beginning of the episode, we see her being emotionally hammered down again and again and again: Jasper telling her she deserves to die, ALIE!Raven bringing up all her ghosts and making her feel even guiltier about Lexa’s death, Jasper again rejecting her apology. She has her walls up, hasn’t let them down since Lexa’s death, but It’s evident that this all weighs down on her heavily. What makes her especially fragile in this episode is that she has no chance for escapism. Ever since Lexa died, Clarke has kept herself busy/distracted with things she must do, right? First, it’s making sure Aden wins the Conclave and that he honors Lexa’s wish of having Skaikru join the Coalition and being protected. She literally rejects Aden’s offer of having a private moment with Lexa’s body.

She can’t do that, she can’t deal with that pain just yet, it’s too fresh and overwhelming. Having that moment would mean having to process Lexa’s death, having to embrace grief, which she’s not ready to do. Her only option is to ignore it, to hide from it.

After Ontari kills Aden and all the Natblida, Clarke’s focus shifts to making sure Ontari doesn’t become Commander, taking the Flame to Luna and protecting the Flame with her life. It’s her drive throughout 3B. There’s an interesting single-mindedness that characterizes her throughout the rest of the season. She needs to focus on this mission, there is little room for anything else. If she stopped, even for a minute, her feelings would be impossible to avoid. It’s a defense mechanism. She shuts the door on grief and clings to what she has: a distraction (the never-ending list of concerns she has to deal with), a hopeless hope that not everything is lost (the Flame).

But then we get to 311.

It’s a peculiar kind of episode, for most of its runtime taking place in a closed environment. But not only that: in this episode, for a long time the characters are forced to stall. There are few exceptions (Octavia and Monty), but for almost the whole episode we are stuck at Niylah’s trading post with the characters, who are racking their brains as they try to find a solution to save Raven, and waiting. Because there is nowhere to rush to, nothing they can do. Nothing Clarke can do. Even when they devise a plan to try and fry the chip, it’s someone else who has to go out and find what they need to carry out the task, not her. She is, quite simply, stuck. Not only physically, but she is stuck with her thoughts and her feelings. And that has consequences of course.

As I said before, we see Clarke getting progressively closer and closer to her breaking point. She first snaps after the continuous hits at her heart by ALIE!Raven, when she reminds her of all the people that died because of her. That it’s not really Clarke’s fault is irrelevant, Clarke feels that guilt and bears it constantly, and in a moment as tense and delicate as that one, it brings her to lash out. What’s interesting to me is that it’s not an immediate reaction. ALIE!Raven first uses Wells, Charlotte, and Finn and while clearly still affected, Clarke recognizes ALIE!Raven’s strategy and manages to mostly ignore her. But then, she mentions Lexa, and Clarke’s reaction is entirely different. (x)

It’s so different from her previous strained attempts at ignoring what is being said to her that even ALIE notices it, with that head tilt she does when she’s learning something new. Clarke here doesn’t even try to pretend she’s not affected by Lexa’s mention. She directly goes and tells ALIE!Raven to shut up. She looks up the second she hears Lexa’s name, her glare is deadly, her words are seething. She doesn’t wanna hear this, she can’t hear this. Also! This isn’t the first time someone told her she was responsible for Lexa’s death, with Titus telling her he pulled the trigger but it was her fault. You can bet that had a great impact on Clarke and made her only more sensitive to ALIE!Raven’s words.

And the comment about her father’s death is the last straw. So we get her lashing out and literally trying to gag Raven so she doesn’t have to hear this any longer.

The heartbreaking thing is that she pretty much gets no respite. Bellamy takes her place in the room with Raven, but Jasper is immediately there to remind her about Mt Weather and how she killed all those people and Maya. She’s literally on the verge of tears when he rejects her apology and roughly pushes past her.

All this shows she is incredibly close to reaching her limit. All that tension and pain and guilt is like a fire simmering inside her, a fire she has no way to cool down because as I said, she is deprived of almost any distraction. She spends the episode being reminded of what she did and most importantly, of what, who, she lost.

So when Jasper grabs the Flame and is ready to destroy it, Clarke’s walls shatter. Faced with the possibility of losing yet another thing extremely important to her, she has no way of shutting down her pain and grief any longer. (x)

She panics when she realizes what Jasper is about to do. She is frantic in trying to get the Flame back, desperation is written all over her. The possibility of losing the one part of Lexa she has left propels forward that fire of pain and grief. Lexa is gone, this is all she has left of her, and she can’t bear to lose that too. All her restraint, her imposed control over her emotions, is useless in this brief moment. And so…

She doesn’t use logic to try to stop Jasper, it’s her heart here begging him to not take Lexa from her. It’s raw, it’s charged with every emotion ranging from despair to heartbreak, it’s harrowing. For this brief moment, Clarke is stripped down, emotionally bare and vulnerable. She doesn’t avoid her grief, she embraces it. She even arrives to relive details of the moment Lexa died.

Oh, and that “I’m not–” she says immediately after, right before pausing and figuring out how to save Raven. That breaks my heart because I can’t help but wonder what she was going to say. “I’m not making this up… I’m not lying… I’m not crazy.” She needs Jasper to believe her because otherwise, she is going to lose that part of Lexa she still has, however small. The fact that her reaction is so intense and heart-wrenching is only a proof of just how much she loves Lexa and of how much pain and sorrow her death caused to Clarke.

And when eventually Jasper gives the Flame back to her, Clarke treats it like something incredibly precious. She cradles it in her hands, she brings it close to her chest, almost protectively, she keeps her eyes set on it, she is extremely careful in putting it back in the case. She takes her time with everything and if you look at the scene, you can see that from the moment she gets the Flame back to when she places it back in the case, it’s almost like it’s just Clarke and the Flame. She focuses only on that. She’s still got it, she can still hold on to it, to Lexa. And it’s a thin consolation, yes. It’s probably more painful than relieving, because the Flame is at the end of the day a reminder that Lexa is dead and Clarke lost her. 

Clarke is grieving and she should be allowed to go through every stage of her grief, but unfortunately, that is not the case with her. Everything she is feeling is written on her face, every unresolved, painful emotion tied to Lexa’s death. But the moment is gone, and with one last look, she collects herself as best as she can and she goes back to her mission. (x)

To me, this is one of the things that make this entire scene even more devastating. We get a glimpse at the enormity of the pain that Clarke is feeling, we see every visceral emotion she is hiding behind her mask of stoicism, but she isn’t allowed to properly deal with it, and thus, to heal.

Anyway, I made myself sad. To cut it short, the main point of all this is that Clarke loved Lexa immensely and this scene proves it.

Each time we get a new live-action Batman, I’m perplexed as to why we never get a Robin. No, I don’t mean Chris O’Donnell reluctantly moving to Wayne Manor when it looks like he’s already 21 or older. I don’t mean Joseph Gordon Levitt inexplicably being referred to as Robin during the very last minutes of a trilogy. And I certainly don’t mean hints of a long-dead Robin, sacrificed as additional kindling to toss upon the pyre that is Bruce Wayne’s grief.

Why don’t we ever get eight-year-old Dick Grayson? Why can multiple animated series and comic book arcs introduce a young, vulnerable child into Batman’s life, can give him purpose and gravity in the narrative and allow him to develop into a partner and then a hero in his own right, while movies either avoid him entirely or warp him into something unrecognizable? People more familiar with Batman as a pop culture icon than a character with a long, established comic history tend to be those who dismiss Robin by claiming that Batman is an eternal loner. That we’re tarnishing his character by burdening him with a child sidekick, and that he must prowl the night in solitude or we’re denying the most essential parts of his persona.

Are you kidding me? Batman independently paid for the floating space clubhouse that his Justice League buddies meet in. He is instrumental in connecting the entire database of heroes that make up the DC universe. You’re threatened by the potential presence of Dick Grayson? Bruce—in precious canon!– has no less than five adopted/biological children: Dick, Jason Todd, Tim Drake, Cassandra Cain, and Damian Wayne (and sometimes Helena Bertinelli). That’s not to mention the multiple young people he mentors: Barbara Gordon, Stephanie Brown, and Carrie Kelley in some continuities (and these same people will defend The Dark Knight Returns until their bitter deaths, so don’t you dare object to Carrie Kelley in the same damn breath).

I don’t think any other DC hero builds as large of an extended family as Batman constructs for himself. The Batfamily is legendary among the fanbase. Bruce loses his parents and he’s devastated and has obsessive and antisocial tendencies, sure. His gruffness is charming, even, but it’s a calculated presentation to conceal the brokenness at his heart. He seeks out troubled children to protect and guide again and again, because he doesn’t want them to develop his own self-destructive qualities. Everything that certain sectors of fandom glorify about Bruce, Bruce himself actively fights against seeing take root in any other vulnerable child. He trains them to serve Gotham City, but more importantly, he provides them with the stability to recover themselves from the brand of tragedy that shaped his own life. If you ask Bruce his greatest accomplishment, he’d say without hesitation, “Nightwing.”

If you think of Robin as a quippy sprite of a boy in bright colors and pixie boots, you’ve barely scratched the surface of what makes this character so important to the Batman mythos. He provides levity against Batman’s darkness, and it’s refreshing, sure. But he’s so essential to Bruce confronting his own trauma and development in being able to function as a team player—as an eventual member of the Justice League, which is a cornerstone of the upcoming films—that I honestly can’t wrap my brain around universes that exclude him. Dick’s presence forces Bruce to focus outside himself, and outside the single-mindedness of his mission. Batman needs Robin a lot more than Robin needs him, and the films consistently rob Bruce of one of the most significant bonds in his life.  

We have a new universe on the horizon, and the herald of a dead Robin before we even get started. I hope the DC films are satisfying and successful—truly, I do. But it makes me ask the same question I’ve had each time a Batman film has released during the last few decades: why are cinematic universes so threatened by the premise of a living child being a part of Batman’s world?

The Last Jedi: In her final performance, Carrie Fisher restores hope for Leia Organa

Part 5 of EW’s ‘Star Wars’ cover story

Live fearlessly, live boldly, and even after you’re gone that strength and inspiration burns on.

After Carrie Fisher’s unexpected death in December, The Last Jedi will mark her final performance as Leia Organa — the Star Wars character who went from orphan to princess, to spy, to senator, and finally general of the Resistance.

She remains a light that will never go out in the galaxy.

“Her character to some degree or another has been defined by loss through this whole saga, starting with the loss of her home planet. She’s just taken hit after hit, and she’s borne it, and she focuses on moving forward and the task at hand,” says writer-director Rian Johnson.

UNBROKEN, UNBOWED

No matter what grief or trauma Leia faced, she never wavered in her commitment to fighting for freedom in the galaxy, and her battle continues in The Last Jedi. Leia remains in charge of the scattershot Resistance movement, cut off from the Republic, whose leadership and capitol was annihilated in The Force Awakens.

Anyone who expected the Resistance to fill that void and maintain order would be mistaken. “No, no, no. Not at all,” Johnson says. “They’re a small band that’s now cut off, on its own, and hunted when the Republic is shattered. When the First Order did that hit, the Resistance is isolated, and they’re very, very vulnerable. That’s where we pick them up.”

While the galaxy teeters on takeover by the First Order, Leia is also dealing with personal grief, mourning the death of Han Solo – murdered at the hands of their son, Adam Driver’s Kylo Ren. The young man once known as Ben Solo has now fully fallen to the Dark Side, just as Darth Vader, Leia’s father, did a generation before.

“She’s suffered quite a bit,” Johnson adds. “While I was figuring out what her deal was going to be in this film, it’s one of the things I talked about with Carrie before I started writing: where the character would go.”

THE CUSTODIAN OF LEIA

That’s what Fisher often called herself. “She’s become me, and I’ve become her. Because it’s been a while,” Fisher told EW in 2015 before the release of The Force Awakens.

As she did in her own novels and memoirs, like Postcards from the Edge and Wishful Drinking, Fisher’s wry and brash performance as Leia allowed the character to face her hardships with a blaster-proof sense of humor and whatever the galactic version of chutzpah would be.

Although she won’t complete the saga (Lucasfilm says Episode IX is being rewritten out of respect for her passing), Leia’s impact will continue to reverberate. 

Despite hardship, Leia always finds the hope in any given situation. This time, her story is entwined with Poe Dameron, the hotshot X-wing pilot played by Oscar Isaac. Their relationship is not just general and warrior.

They’re family. And in Star Wars, the notion of family goes far beyond blood relations.

“Poe is in some ways a surrogate son for Leia,” Isaac tells EW. “But also I think she sees in him the potential for a truly great leader of the Resistance and beyond.”

In The Last Jedi, a torch is being passed. It’s about the peril of meeting your heroes, facing down disappointment, and rising to fight nonetheless. Just as Luke Skywalker – reluctantly – may be passing on his knowledge of the Force to Rey, Leia is guiding Poe, encouraging him to look beyond the crosshairs in his cockpit. There are other ways to fight, other ways to lead.

“Poe’s arc is one of evolving from a heroic soldier to a seasoned leader, to see beyond the single-mindedness of winning the battle to the larger picture of the future of the galaxy,” Isaac says. “I think Leia knows she won’t be around forever and she, with tough love, wants to push Poe to be more than the badass pilot, to temper his heroic impulses with wisdom and clarity.” 

CONFLICT WITHIN

There are also rivalries and alliances within the movement. Johnson isn’t ready to reveal what Laura Dern’s Vice Admiral Holdo’s role is in the story, but as a fellow commander in the Resistance she is likely to have a history with Leia Organa. The nature of it will be for the movie to reveal.

“The secrecy does have a purpose in that part of the fun with Laura’s character, with Admiral Holdo, is figuring out what her relationship is to everybody as you go along through the movie,” Johnson says.

In a behind-the-scenes video for The Last Jedi, there was at least one shot of the two women facing each other. It doesn’t look hostile, but under the right circumstances even friendships can turn dark.

“I don’t want to tip the hat too much, but I will say that the heat is immediately turned up on the Resistance,” Johnson says. “Everybody is put in a pressure cooker right away, and relationships crack and strain under that pressure. That was really interesting to me, the notion of putting this small army under a lot of external pressure and showing some of the results within the Resistance itself.”

THE UNWANTED FAREWELL

The storyline wasn’t changed after Fisher’s death, but Johnson says he hopes it will still be satisfying to the legion of Leia fans who see the character as a source of true-life inspiration in our world.

“There’s no way that we could’ve known this would’ve been the last Star Wars movie she would be in, so it’s not like we made the film thinking that we were bringing closure to the character,” Johnson says. “But watching the film, there’s going to be a very emotional reaction to what she does in this movie.”

While Leia’s influence as a leader endures within the narrative of the Star Wars saga, Fisher also made a personal impact on the actors who will be carrying the franchise forward without her.

Everyone who worked on the film has a Carrie story, but the sweetest and most heartbreaking one belongs to Isaac:

“One of my favorite things that would happen from time to time on set would be when Carrie would sing old songs,” he says. “Whenever that would happen I would offer her my hand and we would waltz around the set – on a starship, in a Rebel base, on an alien planet, and she would sing and we would dance. So surreal and beautiful to think about now. For all of her delicious, wicked humor and fiery energy she also had such sweet grace. I miss her dearly.” (x)

Novocaine-Chapter 1

Summary: you have never been seen as beautiful, never been noticed, always picked last, in love and daily life, you pretend you’re fine with it, that you can live with it, until you start catching feelings for a certain super soldier, which he doesn’t return.it, until you start catching feelings for a certain super soldier, which he doesn’t return.

Warnings: Angst.

Pairings: Bucky X Reader (Unrequited Bucky), Steve x reader (Platonic), Natasha x reader (Platonic), Avengers x reader, Dean X reader, Cas x reader, Sam x reader TFW x Reader

Word Count: 1354

6 months ago

“Hey, B? Can we talk?” you ask, fidgeting nervously with the frayed sleeve of your battered sweatshirt. It was your favorite, a neon pink monstrosity with a Wookie riding a motorcycle on it, your sister had given to you before she’d left for New Zealand many years ago. What made her buy it, you had no idea. You weren’t particularly fond of pink, but anything with a Wookie on it was fine in your book. It needed to be thrown away, but you couldn’t bear to part with it.

“Yeah, doll,” Bucky replies, placing the book he was reading on the coffee table with a small thud and turning to face you, his gaze curious and slightly afraid, his brow furrowed with worry.

“We’ve been friends for years, Buck…” you trail off uncertainly, self-doubt crawling up your spine. Shifting uncomfortably from one foot to another, you pull at the bottom of your hoodie trying to make yourself smaller. Your eyes dart from his to the floor, from the floor to the ceiling, finally settling on staring out the window. Shoving the self-doubt down, you muster all the confidence you can willing yourself to speak the words which reside in your heart. What’s the worst that could happen?  Breathing deeply, you wrap your arms around your waist trying to hold yourself together.

“Doll?” Bucky questions worriedly. Rising from the couch, he moves toward you.

You hold up a single hand.

He stops immediately, his chest rising and falling rapidly.

Sighing heavily, you let your hand fall. This wasn’t how it was supposed to go, not at all. You’d practiced and everything damn it!

“Have you ever thought about more, y’know, for us?” you whisper, finally meeting his eyes which are curiously blank. The look makes your heart sink. God, you were such a fool. What were you thinking?

“Do ya mean like a… a relationship?” he asks, his voice flat.

You squeeze your eyes shut tightly, in too deep to pull out now. You had to see this through. Nodding once, you ignore the sharp intake of breath from Bucky.

“Ya feel that way about me, doll?” he asks gently, moving cautiously forward. Precise movements, like he’s approaching a scared animal.

You do your best not to flinch when he lays a hand on your shoulder, ducking his head to try and catch your gaze. Again you nod, eyes trained firmly on the floor.

He sighs and retracts his hand, dragging it nervously through his hair. “I’m sorry, (Y/N). I don’t…” he swallows nervously when your face drains of color, your ruby red lips becoming a sharp contrast against your pale skin. “I don’ feel that way about ya,” he whispers, his heart breaking as your tears start to fall. “Hey… hey look at me,” he says, but you refuse, staring at a point just past his shoulder. “You’re my best friend, Shadow, I just don’ wanna ruin that, ya know?” he says uncertainly.

You feel hot and cold, the embarrassment and rejection a living thing you worming its way beneath your skin. Shoving it down, all of it, every single emotion currently beating against your scarred heart, you raise your eyes to meet his and smile.

His brow furrows once more, and he opens his mouth to say something else, but you cut him off before he can.

“It’s fine, Bucky. It was stupid. I was stupid. See ya later,” you say calmly, turning on your heel and marching from the room.

“(Y/N)! Wait!” he calls after you.

Ignoring him, you instruct F.R.I.D.A.Y not to let anyone in your room for good measure, needing time to tape back together the pieces of your shattered heart.

Present

You wish you could say you were handling things maturely, that you’d taken the rejection in stride, that you’d carried on with your friendship as if you hadn’t spilled your guts all over him then bolted out the room like a broken hearted teenager.You really wish you could, it wasn’t the first time you had been cast unceremoniously aside, but you weren’t going to think about him. Not again.

Instead, you had systematically distanced yourself from Bucky, stopped the Saturday movie nights, stopped going out to dinner, stopped joking around, until there was nothing left but distance. A seven-year friendship destroyed by your inability to accept and move on.

Bucky had tried, he really had, pursuing you with a single mindedness which scared you. He refused to give up. He needed you. Next to Steve you were the only one he connected with, but even he had his limits and five months in all contact stopped.

Crippling loneliness had set in, so lost were you in your self-imposed isolation you barely noticed the drop in temperature, or the faint rustling of wings, or the distinct sound of weapons being drawn.

“Shadow,” the gruff voice of your favorite angel washes over you, startling you back into reality.

Eyes snapping up, they widen comically as you take in the state of the living area.

Steve had his shield raised, ready to strike, Bucky was twirling a knife menacingly in his hand, Sam had his fists raised ready to unleash hell if Cas dared moved a muscle.

Cas’s smooth forehead pinched downward. Waving a hand, Bucky, Sam, and Steve fly backward into the couches. “I will not harm you,” he says evenly to the confused men as he turns to you, your face slack with surprise. “You were praying,” he says quietly.

A vivid red burns through your cheeks, your eyes instinctively dropping to the floor, trying to hide the burning embarrassment.

“You are hurting” he says worriedly as he yanks you upward, placing a cool hand on your forehead attempting to heal you.

You shrug him off, clicking your tongue with annoyance. “Stop it! I’m fine, Cas. Where are they?” you ask peering behind the couch, expecting a Winchester to jump out any second.

He frowns anxiously, attempting to drag you back toward him.

Shrugging off every attempt, getting pissier by the second, you finally bark, “Enough, Castiel! Where. Are. They?”

He sighs and cocks his head to the side, finally relenting. “They are preparing to leave the Bunker. Dean wishes for you to come home,” he says quietly.

You groan loudly, earning raised eyebrows from Bucky who until this point had been staring at Cas like he was mildly concussed. “I’m not going back, Cas. You know I can’t. Not after…” Swallow thickly, you turn your back on the Angel.

He grunts, knowing the story. He’d been dead, albeit momentarily, but Sam had filled him in on the blanks. It wasn’t a pleasant tale. He could smell the anxiousness wafting off you.

“Lisa and Dean-” Cas begins only for you to hiss at him, eyes darting between him and Bucky.

“This is not the place for this discussion. Go back to Moose and Squirrel and inform them I do not need, nor do i want,  their help. They need to stay the fuck away from me! In fact, I think all the men in my life need to back the fuck up. I do not need you!” you spit venomously, eyes trained firmly on Bucky who flinches at the acid in your tone. You look back to where Cas was standing not a second before, seeing nothing but air. Sighing heavily, stamping your foot petulantly, you drag your hand across your face.

Steve snorts, gaining your attention. “Best start explaining, (Y/N) .”

Tags: Under the cut

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anonymous asked:

Hi, I was wondering if you are taking requests? If not, then please ignore this, or sit on it for a while and decide. Tom did not build her up from nothing; he broke down the walls around what she didn't want to acknowledge. The book that housed a fraction of soul looked into this lonely, angry child and for just a moment saw a shadow of himself. Or basically: What if, Ginny was sorted into Slytherin?

Hm. So you seem to be asking two different questions here, and you don’t seem to know that they’re different. They’re both interesting stories probably, but I think what I’d like to talk to you about here is that nonequivalence. 

You’ve asked for a dark!Ginny, one who secretly hates, who secretly relishes in pain or dismissal, one with a hidden superiority complex and a violence in her that’s cruel enough to match a young, arrogant Tom Riddle. The youngest of seven, forgotten and left behind, belittled, bitter, and the orphaned boy who orphaned so many more in his time. 

It’s not quite my type of story, that–my Ginny is not a kind beast, but she is not a cruel one either–but it could certainly be a story. 

But then–

Or basically: What if, Ginny was sorted into Slytherin?

This is not the same question. Did you know that? 

Slytherin, despite everything, does not mean evil. It certainly doesn’t mean that on my blog, but even in canon– this is where you find Regulus Black, who died to stop old Tom. This is where you find Draco Malfoy, who was an ignorant, whiny, and self-important child, but hardly an evil one. This is where you find Andromeda Tonks, who loved so hard and so fierce and so well that she ran from superiority, wealth, and family to marry into a Mudblood house that was so much warmer than her childhood home ever had been. 

And Slytherin!Ginny is a story that would fascinate me. The traits of Slytherin– ambition, cunning, adaptability, selfishness, and possessive love– these sit well on the youngest Weasley. She falls in love with Harry day one and never gives up on it. She transforms herself to step out from waiting in the eaves for him and lives for her own self, and it’s that bright creation of her daring self that wins him in the end. She goes after things with a single-mindedness that delivers– in love, in Quidditch, in kissing boys and defending Hogwarts until the end. She breaks rules. She loves hard. She doesn’t give up. She belongs in Gryffindor, sure– bravery is a watchword; her red hair is a war banner– but she would not be out of place in Slytherin. 

And what a story that would be? The silence in the Great Hall when the name “Weasley” got followed by “SLYTHERIN.” Mrs. Weasley’s face when owls flap through the Burrow’s windows, carrying Percy’s concerned note and Ron’s dubious scrawl and Hermione’s anxious ‘Dear Mrs. and Mr. Weasley, I’d thought you’d like to be informed…’ (Fred and George of course just laughed and laughed and laughed into the silence and fell off their bench at the Gryffindor table and got bruises on their bums.) The way the Weasley parents would stress and wonder and pace and ask what did we do wrong– but in the end, the warm Weasley Christmas sweater that would arrive in the mail at the Slytherin table, a G knitted into the front, all brilliant in silver and green. 

But the worries Ginny would have that first year, as the diary ate her from the inside, as it did cruel things with her hands–she’d have the same fears that are written up there in that ask as certainties: that being Slytherin meant she was secretly wrong. That her loneliness and her anger, her ambition and all her little selfishnesses meant she walked in the same skin as Tom, the ghost-boy who was using her hands to strangle chickens and write threats and hang cats by their tails and let out monsters so they could murder schoolchildren for the sake of their blood. She would worry she was like him and she would be wrong. 

But this is what I would want out of that story– that growth, that realization, that reclaiming. You can be lonely without lashing out. You can be angry without being cruel. You can be ambitious without stepping on other people to get there. Ginny is good– a Ginny with green on her herms is still good. She is sarcastic and a bit dark in her humor, casts a mean Bat Bogey and is jealous about Cho and fiercely defensive of Luna– this is true in a lion’s House or a snake’s. 

I want Fred and George playing Exploding Snap with her and teasing her for not cheering for them in Quidditch matches. I want her to find Millicent’s temper as hilarious as she finds Luna’s oddities, and to threaten a hex on anybody who calls Millicent fatty just as quick as she threatens the ones who call Luna loony. I want Harry to conscript her to help him spy on Draco and her to take to espionage like a duck to water– because you’re a Slytherin, he says, and she laughs and says, no, because I’m a nosy little sister and always have been. 

When Ginny stays her sixth year, during the Carrows’ reign and Voldemort’s months of power, I’d want her to spit cruel words at Death Eaters and to hide her wand up her sleeve, and to stand between children and their abusers. I’d want her to marshal an army in the Room of Requirement, with Luna and Neville and every other scared, willing soul. This was her home. These were her people, her family, the things she was willing to fight for. 

When they told her–their firebrand, their war banner–that she ought to have been in Gryffindor, I hope she laughed, I hope she fumed, I hope she proved them wrong. She was here for her friends, the way Regulus betrayed Voldemort for Kreacher, the way Narcissa lied to save Draco, the way Snape spent his adult life atoning for Lily, the way Andromeda left everything behind for Ted Tonks. 

I would want Ginny to wear green proud by the end of it. I’d want her to know the evil was in Tom’s shadow, not in her, not in the color they both wore. I’d want Hermione to look up histories for her of Slytherins who saved children and fought good wars and taught and loved and built things meant to last– because ambition is about going after what you want. What in that is evil? Selfishness is about understanding that you yourself have value. What in that is evil? Cunning is about creativity, quick-thinking, rolling with the punches and paying attention– what in that is evil?

Do you know the sort of evil you can do in the name of fairness? Do you know the sort of damage you can do with bravery, with not knowing how to back down, not knowing how sometimes there is a need to give, to adapt? Do you know how you can cut with cleverness, what sort of scornful superiority can live in those high towers? 

These are stories about choice. You choose your House. You choose how to live your House. Be brave, be cunning, be fair, be curious– all of those have their dark wizards. I refuse to believe otherwise. 

New interview with The Telegraph (I posted the entire article for those without access)

‘Edgar Wright could have fired me and got Michael Caine instead’: Kevin Spacey on loss, life and Baby Driver

By Robbie Collin, Film Critic

1 July 2017 • 7:00am

Kevin Spacey is a man who knows when to get on his bike. Take the morning of our interview, a balmy Wednesday in June on which central London is even more than usually snarled with traffic. In transit to our meeting place – a chic West End hotel – he abandons his taxi and leaps on a rental bicycle, or so I’m told by a neatly dressed man with a moustache and clipboard whose job entails keeping abreast of Spacey’s movements, for today at least.

Minutes later, Spacey glides in sweat-free and bang on time, despite having made an iced latte pit stop en route. Smiling hungrily, and dressed in a sharp navy blazer, striped tie and chinos, he looks like a crocodile disguised as a Rotarian. But as he slouches into an armchair and amiably lobs the screwed-up wrapper of his drinking straw towards a wastepaper basket in the corner – a near miss – I start to wonder if my wary first impression was entirely fair.

It was certainly swayed by the fact that Spacey’s career is currently in the sixth fruitful year of its death-dealing control freak phase, a character type at which the 57-year-old actor has proved remarkably adept. First came his three-month stint as Richard III at the Old Vic – a production of the Shakespeare play, directed by Sam Mendes, that was called the crowning glory of his 11-year creative directorship at the London theatre.

Next came six seasons of Netflix’s glossily rancorous political serial House of Cards, in which Spacey plays President Frank Underwood – a character whose original incarnation, in a series of novels by the British author and Conservative peer Michael Dobbs, was partly inspired by Richard III and Macbeth. And this week, we have the first film Spacey shot since leaving the Old Vic in 2015: Edgar Wright’s Baby Driver, a car-chase thriller in which he plays Doc, the dark mind and barbed tongue behind a madcap Atlanta bank-robbing crew. It’s a role, like those other two, that turns on the classic Spacey bark/bite conundrum: you think his character can’t possibly be as scary as he sounds, and then he actually gets to work.

There were hints of that in his performance in The Usual Suspects, too: the first in a quartet of towering film roles that made his reputation and won him two Academy Awards in five years flat. (The others were Se7en, L.A. Confidential and American Beauty.)

This kind of actor-audience tension reminds Spacey of Shakespeare – a lot does – and specifically, the way theatre-goers around the world reacted when, as a raging Richard III, he directly addressed members of the audience while pouring out his nefarious schemes. (The theatrical technique was adopted by House of Cards, to similarly chilling ends.)

“In 12 different theatres in 12 different cities around the world, I was looking into the audience’s eyes and seeing the same extraordinary reaction everywhere: ‘This is so awesome, I’m in on it, I’m a co-conspirator!’” he recalls. “And they kept totally supporting him, right up until the moment they find out he murdered the kids. Then when I looked at them it was like, ‘Oh, f—,’” he beams.

Spacey sets about his work with a steely resolve and says his sense of purpose has redoubled following the deaths of a number of close friends, not least the actor Tim Pigott-Smith, in April of this year, and the theatre director Howard Davies last October, both of whom worked with Spacey on the 1999 Broadway revival of The Iceman Cometh.

He says he’s spent the last year-and-a-half “working with a whole series of experts, doctors and others, because I have watched, over the last six years, colleagues and friends of mine drop dead at 52, or 56, or 65. It doesn’t mean that you’re not going to get one of the five things that men over 50 are getting, but maybe you can hold it off until your 80s or your 90s. So I’m working on extending my life and not shortening it.”

For one thing, he still has so much to do. He’s written letters asking directors he admires – Martin Scorsese, Woody Allen, Wong Kar-wai – to bear him in mind for future roles. (“I keep opening the paper and reading that Woody Allen’s doing a film with Alec Baldwin,” he mock-splutters.) He wants to find a new creative director-like role that will “advance [his] love and appreciation of theatre” – another Old Vic gig, essentially – albeit “with the caveat that I don’t want to run a building again.”

Then this tantalising prospect: “I have a gigantic project for television,” he says. “Once House of Cards is finished. This is a very specific project that will be the next big thing I do.” He declines to elaborate, so I ask if it will reunite him with David Fincher, the director who, along with the playwright Beau Willimon, helped bring House of Cards to Netflix. “It is not a Fincher production,” he replies. “It’s mine.”

There is also his ongoing mission to open up theatre to a younger, broader crowd. At the Old Vic he relentlessly raised funds to keep the theatre running without public subsidy, while simultaneously fighting to bring its productions to new audiences – specifically, youngsters who wouldn’t have otherwise wandered through its doors.

In fact, he’s just returned to England from New York, and a restaging of his penultimate Old Vic production – David W. Rintels’ intimate one-man show Clarence Darrow, about the American civil rights lawyer – in a 23,000-seater tennis stadium in Queens, designed to bring in a crowd for whom Broadway is alien turf. Critics didn’t exactly take to the idea, with the New York Times branding the exercise a “folly”. But for Spacey, the bragging rights are in the numbers: 200 student tickets sold every night, and a further 250 given away free to 18 to 25-year-olds. “And yes, my producers don’t like me, but in the end we still make a profit,” he says, lacing the word “like” with pure venom. “We just don’t make as big a profit.”

This nose-thumbing single-mindedness considered, it’s perhaps surprising that Spacey enjoyed working on Baby Driver as much as he did. The film is so tightly choreographed – most scenes unfold in snappy sync with a musical accompaniment – that Spacey had to act out entire scenes with an earpiece keeping time, to ensure his every line and gesture fell on the beat.

“Let me put it this way,” he says. “Every time you work with a director, you have something to lose and something to gain. Some directors, when you’re doing a play, like to get up on their feet on day one and block the first act, and you’re like, ‘I don’t f—ing know who I’m playing yet, let alone why they would walk from here to there.’ And others sit down at a table and you spend a week examining Shakespeare before anyone gets on their feet.”

What did he have to lose on Baby Driver? “I could have been fired and Edgar could have got in Michael Caine instead,” he deadpans. Spacey is an accurate and merciless mimic – see YouTube for details – and says he would sometimes drop into the British actor’s accent on set, “just to make Edgar smile.”

He does this throughout our conversation too: reminiscences of Ian McKellen’s Widow Twankey at the Old Vic’s Christmas pantomime, for example, come with a note-perfect impersonation attached. In fact, interviewing Spacey often feels as if you’re in the front row for a one-man show of his devising. He doesn’t converse so much as monologue, and adjusts his tone and posture with a slinky precision while moving from one point to the next. And when he talks about losing Pigott-Smith and Davies, his words are so tender, and his delivery so wrong-footingly serene, I find myself welling up.

It’s not that you feel that Spacey is being insincere so much as suspect that for him, this might be what sincerity is. Perhaps it’s an up-close-and-personal version of Diderot’s paradox of the actor: you can either convincingly express an emotion or feel it for real, but never both at once.

While hosting the Tony Awards a few weeks ago, Spacey joked about the long-running rumours around his sexuality – but again, at a cautious remove. During the opening skit he dragged up as Norma Desmond, from Sunset Boulevard, and trilled a line from the musical – “I’m coming out!” – before hurriedly backtracking, to laughter from the crowd.

Spacey doesn’t talk publicly about his personal life, perhaps after being burned by a 1997 magazine interview that heavily insinuated he was gay. Given his long-standing decision not to discuss any of this, did he feel odd joking about it on the stage of an awards show?

“I really don’t think that anything isn’t a subject for comedy,” he shrugs. “In many ways, political correctness has made comedy really difficult. We were just trying to have fun, and poking fun at oneself as much as anyone else. I said pretty early on that I was not interested in turning the evening into a political opportunity, and I wanted to do things that would be surprising and different.” He mentions another gag, about the Hillary Clinton email scandal, which many might have thought his long-standing friendship with her husband, might have precluded: again, not so.

If we can’t make fun of ourselves and others, and even people we might agree with versus people we don’t agree with, then I don’t think that’s good for comedy.”

One of his inspirations in life, he says, has been Jack Lemmon. The two met when Spacey was a timid 13-year-old – the youngest of three siblings – at an acting workshop in Los Angeles. Lemmon was “an idol” – someone he’d marveled at on countless cinema trips with his mother Kathleen Ann, who instilled her own love of classic films and theatre in her youngest son.

Spacey recalls the older man laying a hand on his shoulder after the class and telling him: “You’re a born actor, and you should go to New York and study this, because you were meant to do this with your life.” The advice took. At 19, Spacey was accepted by the Juilliard School, and in his mid-20s, he was cast opposite Lemmon in a Broadway production of Long Day’s Journey Into Night, as the elder actor’s son. During rehearsals, he told him the story of their first meeting when he was 13. Lemmon remembered every detail.

Spacey describes Lemmon, who died in 2001, as a “father figure” (his actual father Thomas, a technical writer and frustrated novelist, passed away in 1994). He lost his mother to a brain tumour in 2003.

The shy teen who got that vital dose of Lemmon aid more than four decades ago may be long gone, but Spacey remembers him well – along with the precise point, two years later, when he fully understood what acting was.

“Something shifted,” he explains, during a school production of All My Sons, the Arthur Miller play. Before then he’d primarily enjoyed acting because it put him at the centre of attention, but as he stood on stage, the 15-year-old realised the faces in front of him – parents, classmates, strangers – weren’t actually looking at him, Kevin Spacey, at all.

“I realised they were responding to the character I was playing,” he says. “That it wasn’t about me.”

topqualitymeemees  asked:

Hello! I just found your blog and I'm loving it so far! Anyway, could you explain what it means when a person is "unhealthy" in MBTI?

Unhealthy Cognitive Functions

Being unhealthy in MBTI means that you use your functions in a way that’s detrimental to yourself or others. This unhealthy state occurs when the function is not working together healthfully with the other functions in your stack (particularly with its functional opposite, e.g. Ne/Si, Te/Fi etc). 

Here are some negative patterns and behaviors that may manifest through unhealthy use of each function: 

Extroverted Intuition (Ne): flakiness, complete rejection of traditional methods, fear of commitment, detachment from reality, extreme indecisiveness, avoidance of mundane tasks

Introverted Intuition (Ni): single-mindedness, refusal to back up conclusions with evidence, lack of spontaneity, dismissal of other opinions, “all or nothing” goal mentality, obsessive visualization, self perception as “all knowing”

Extroverted Sensing (Se): overindulgence, flightiness, recklessness, physical aggression, complete rejection of the theoretical, refusal to plan ahead, acting without considering the consequences

Introverted Sensing (Si): rejection of novelty, fixation on the past, obsession with detail, stagnancy, complete disregard of contradictory information, always “play it safe”

Extroverted Thinking (Te): aggressiveness, need for control, need for dominance, ruthlessness, lack of consideration of others feelings, black and white thinking

Introverted Thinking (Ti): overanalyzing, obsessive search for truth, extreme skepticism, harsh criticism, outright rejection of group institutions or norms

Extroverted Feeling (Fe): manipulation, obsession with social standing, spinelessness, desperation for approval, emotional volatility, self-neglect, rejection of logical reasoning

Introverted Feeling (Fi): excessive stubbornness, self-richeousness, special snowflake syndrome, selfishness, hypersensitivity, rejection of objective decision-making

Also, aside from unhealthy individual functions, there are also unhealthy states, which occur when you overuse your lower (tertiary and inferior) functions. There are two kinds of unhealthy states:

  • loop: pattern of overusing the the tertiary function in replacement of the auxiliary function (click here for a previous post on loops). Basically it makes you either an unhealthily extroverted extrovert or an unhealthily introverted introvert.
  • grip: overuse of the inferior function in replacement of the dominant function. This is no good, as your dominant function is your strongest asset and ally if used in a healthy way, and your inferior function is generally your most underdeveloped. 

That’s it! Hope this helps

Venus in Gemini: Two Princes

If you want to know what it’s like to be loved by a gemini venus, listen to the song “two princes” by the spin doctors. The energy and lyrics of the song capture the venus in gemini vibe perfectly- sweet, playful, but potentially devoted and deep in love.

If you want to call me baby
Just go ahead, now
And if you like to tell me maybe
Just go ahead, now
And if you wanna buy me flowers
Just go ahead, now
And if you like to talk for hours
Just go ahead, now

Gemini venus is pretty shameless when it comes to love. They keep their heart on their lips and will say anything to get you. At the same time, they can be completely sincere. It is an irresistible, potentially lethal combination.


I mean, would you be able to turn down the guy singing “two princes”?

Nope. Don’t lie. 

But here’s the catch: venus in gemini has a reputation for dishonesty and infidelity. 

Like venus in scorpio, if gemini venus doesn’t feel like you’re The One, they will lie and cheat without any qualms. Unlike venus in scorpio, they probably won’t care too much if you cheat on them too. They are the type to get in a relationship just to avoid boredom. The minute you start to bore them, it’s over, whether you realize it or not. They won’t dump you, though. It’s not because they’re scared (though, as a mutable sign, they like to avoid confrontation) but because you don’t even rate the effort. 

Yeah, gemini venus is the most likely to pull the fuckboy move of getting you to dump them. They’ll start by ignoring you and brushing you off. If that doesn’t cut it, they’ll blatantly flirt with other people in front of you. If that doesn’t work, they’ll let you catch them cheating. Make no mistake- if you catch a gemini cheating, it’s because they wanted you to. 

Regardless, chances are, you’ll be the one to break up with them, which leaves them free of blame and able to start another relationship right away.

Gemini is the sign of duality, and in love, it embodies one of two archetypes: the trickster, or the lovers. 

(Historically, the symbol of Gemini was not twins, but a pair of lovers.)

If you’re not The One, Gemini will play you and not give a single fuck. They can’t feel sorry even if they wanted to.

If you are The One, Gemini will approach the relationship with all the innocence, sincerity, and devotion of a young lover. They will say anything to get and keep you. 

In this context, Gemini venus combines the fire, passion, and single-mindedness of Aries with the depth and commitment of Scorpio. Gemini will shower you with gifts and put you on a pedestal like Leo and make long-term plans like a Capricorn. 

(Each sign carries the energies of the signs that form sextiles and inconjunctions to it. Every sign is unique, but its traits can be created by combining other signs- just like green it its own color, but can be created by mixing red and blue. If you have planets in capricorn, leo, scorpio, and (not or) aries, you may relate strongly to Gemini, even if you have no placements in that sign. Long tangent, but important info!)

As an air sign, Geminis like to be a little unconventional in love. Notice in “two princes” the singer says “if you want to buy me flowers, just go ahead now.” Traditionally, in a hetero courtship, the man buys the woman flowers. Venus in Gemini likes to switch roles and switch back every now and then.

Venus in gemini men may like it if you buy them scarves, flowers, and other “feminine” gifts. He may like to surprise you by cooking and cleaning. Conversely, venus in gemini women may take on traditionally “masculine” tasks like fixing the shower, etc, for her man. Even in same-sex relationships, the venus in gemini person will change roles and perform a variety of tasks for their partner, and expect the same from they. It’s all about variety. This placement also makes it likely for someone to be bisexual and down for anything, especially a threesome. 

Gemini venus men tend to be in touch with their feminine side, and the woman may be comfortable with masculine roles. This is a great placement for the type of self-confidence that allows a person to change into anything, and still retain their sense of self. 

Personally, I used to side-eye venus in gemini a lot, because of their reputation for deception and ruthless actions in love. I listened to that spin doctors song on repeat, couldn’t shake the feeling that it represented venus in gemini perfectly, and had a huge epiphany.

Now, I think this is one of the best venus placements for finding true love because, like scorpio, it allows for soul-level depth, like capricorn, it prevents you from settling for less than what you deserve, like aries, it allows you to pursue your lover fearlessly, and like leo, it endows you with great confidence and generosity. 

I know venus is exalted in pisces, and I understand why, but I feel like venus in gemini should be tied for that position. After all, what better sign for venus to be in, than the sign that is literally symbolized by a pair of lovers?

Pearl & Amethyst - Season 1 Analysis (PART 2)

Part 1 is HERE!

TLDR; At the start of the series, Pearl and Amethyst’s relationship was shown to be a bit rocky (pardon the pun). However, it was also implied that this was not always the case. Season 1, in many regards, was set-up for Pearl and Amethyst’s growth in the seasons to follow.

~~~~

Giant Woman

(This episode is big, so it gets its own post!)

The episode begins with Pearl and Amethyst playing checkers. At first, Pearl says she is impressed with Amethyst. However, after Amethyst teases Pearl (while twirling her hair), they get overly competitive. 

Pearl nags Amethyst about her style of fighting, which prompts Amethyst to mention Opal. Amethyst also tells Pearl that she’s “no fun anymore”. This is another hint that Pearl and Amethyst’s relationship wasn’t always so tense.

Many episodes later in “Last One Out of Beach City”, Amethyst’s opinion of Pearl is much different. Perhaps they are going back to the way they were before the start of the show?

Interestingly, while not having a very positive opinion about EACH OTHER in this scene, both Pearl and Amethyst praise Opal greatly.

Amethyst also mentions that she does not dance like Pearl. 

However, she DOES dance like Pearl… many episodes later, in “Log Date 7 15 2″. Pearl also takes on Amethyst’s dance style in “Steven’s Birthday”.

At this point, Garnet arrives home. Once Pearl, Amethyst, and Steven are given their mission to retrieve the Heaven Beetle, Garnet asks Steven to “keep the harmony”. Pearl and Amethyst don’t looked pleased about this order.

Once arriving, Steven asks them to fuse again. Pearl tells Steven that they only fuse for “deadly situations”. This is interesting, since in “Log Date 7 15 2″ they fuse to lift up a drill, and are not really in danger. This suggests this was just an easy excuse, at the time.

Steven proceeds to sing the famous “Giant Woman” song. Throughout this song, Pearl and Amethyst get on each others bad side. Steven, however, is excited because he “can’t wait to see the person you are together”, and suggests “you might even like being together”. This is likely foreshadowing for their relationship in future seasons/episodes.

After the song, Steven accidentally falls off a cliff. Despite fighting the entire episode, Pearl and Amethyst immediately work together to save him. Steven tells them “That was so great how you worked together! Why don’t you do that all the time?” Pearl and Amethyst contemplate this statement for a moment, but decide to go back to bickering.

Once on top of the spire, everyone is attacked by a corrupted gem. Finally, Steven is able to convince Pearl and Amethyst to fuse. Amethyst seems to be pretty into the dance/fusion, while Pearl only attempts to fuse halfheartedly. She also looks away in disgust at Amethyst’s dance moves.

Interestingly, in the future short “Gem Karaoke”, Pearl’s reaction to to Amethyst’s dance is very different. She even blushes, slightly!

Furthermore, this failed fusion dance is in sharp contrast to their fusion dance in later seasons, particularly “Log Date 7 15 2″.

However, back to the current episode, Amethyst points out Pearl’s lack of cooperation. Instead of denying this, Pearl looks away with a shameful look on her face. This suggests that she knew she was being difficult with Amethyst, but doesn’t want to admit it at the moment.

Shortly after this scene, Steven is eaten by the corrupted gem monster. Finally, because of their shared worry/love for Steven, they are able to fuse into Opal and save the day.

In the book “Guide to the Crystal Gems”, Opal is described as follows: “Amethyst and Pearl are extremely powerful when they are willing to work together in the form of Opal. Amethyst’s ability to live in the moment along with Pearl’s obsessive single-mindedness results in a stable fusion. Opal achieves a sense of peace in that balance that Amethyst and Pearl rarely experience on their own. At times, Opal is so calm and at peace that she forgets the task at hand.” This says a lot about Pearl and Amethyst’s relationship, overall.

Opal’s bow and arrow might also be symbolic of Amethyst and Pearl’s relationship. Each item, on its own, isn’t horribly powerful. But when combined together, they are. You can’t have one without the other!

After saving Steven, Opal returns to the temple. It would seem that Opal had plans to stick around after the battle was over, despite the fact that Pearl said earlier they only fused for deadly situations. 

However, this is short-lived. Opal vanishes when Pearl and Amethyst realize they forgot the heaven beetle. Luckily, Steven had it! After complimenting Steven on helping his teammates to fuse, the episode ends with Pearl and Amethyst looking awkwardly at the floor, likely thinking about the day’s events.

~~~~

PART 3 OF THE SEASON 1 ANALYSIS COMING SOON! Stay tuned!

If you think I missed anything in the episode above, let me know! Maybe I’ll add on!

The Functions & Feelings

Often there seems to be the idea that the Feeling Functions are the only ones that have anything to do with feelings - when they have rather to do with intra- and interpersonal, social processing and surely use the feelings of yourself & others as an ‘input’

Indeed, in the brain there is no such division between what gives you skills & what gives you the specific emotional reaction patters we call ‘personality’ . It’s more that every function comes with a certain mental state or ‘emotional climate’.

For example, Fi doms have high activity in an area associated with stating your own beliefs, but also with feelings of humility or at least self-reflection. (There are some very un-humble Fi doms but they usually still reflect on their own behavior alot. & I know many humble, generous Fi users. ), whereas Fe users have activity in a region that processes & interprets social feedback on a cognitive level but also plays a role in feeling embarassment. And all feelers have areas regarding to judging tone of voice & intention on a lot. 

An exeption might be Ti that ‘lies’ in rather isolated brain regions & may dampen impulses from deeper in the brain, though a few regions involved in Ti are also involved with humor - Which may explain why many a Ti-user’s first reaction to bad new might be to crack a dark joke or laugh at the absurdity before they switch over to full emotional processing later on. And, come to think of it,  why ENTPs and ESTPs are so very hilarious (combining two ‘funny’ functions, plus tert Fe which can be kinda ‘lighthearted’ at times.)

Extroverted Sensing

Associated Skills: Kinesthetic-spatial processing, crisis management, perceptiveness, adaptability, making an impression on people, facility for tool use including musical instruments

Mental State: ‘mobilized’, active, alert, in touch with insticts, attracion and repulsion to things

Emotional Climate: Energy, desire, will, relish in physical activity or presence, awareness of status, desire and force both physical and mental

Personality Traits: spontaneous, energetic, active, adventurous, realistic, present-focussed, often ‘sophisticated/mature’ relationship with the material where they greatly enjoy pleasing things but aren’t neccesary ‘bound’ to them and could just as easily lead a more bohemian life, sometimes but not always competitive, agressiv territorial or dominant, express feelings physically (through sex, punch wall when angry etc.)

Introverted Sensing

Associated Skills: Attention to detail, good memory, good at manual work & logistics,  anything that requires practice

Mental State: relaxed state of physical and mental comfort & focus, comparision of sensory stimuli, focus on prolonged state of activity, cozyness, convenience, quality

Emotional Climate:  feelings of comfort & discomfort, pleasant and unpleasant, familiar & unfamiliar - actually displays the  rigidness, stubborness and single-mindedness tseen as characteristicsonly when familiar ‘flow’ is disrupted

Personality Traits: discerning, pragmatic, hardy, cautious, reliable, loyal, down-to-earth, sometimes but not always slow to adapt, express care by physically providing/ taken care of you

Introverted Intuition

Associated Skills: Long-term planning, purposeful action, pattern dectection, prediction/vision, eye for potential, insight 

Mental State: reflective, sometimes wistful, ‘mystical’ state, zen like focus, ‘expert-like’

Emotional Climate: worry & anticipation, clarity & certainty

Personality Traits: Purposeful, philosophical, inert, contemplative, planning/preparedness, sense of purpose, lowkey idealistic, ambitious

Extroverted Intuition

Associated Skills: facility with language, inventiveness, creativity, ressourcefulness, speculation & extrapolation, abstract thought

Mental State: considering possibility & interconnection, high energy, high speed processing, ‘epiphany-like’,

Emotional Climate: Excitedness, enthusiam, playfulness, search, longing 

Personality Traits: open-minded, dreamy, eccentric, bubbly, poetic, mischievous

Extroverted Thinking

Associated Skills: Organization, management, leadership, methodical efficiency

Mental State: active but steady & purposeful, procedural energy, algorithmic action, identifying & removing ‘faults’.

Emotional Climate: criticism, comparision, control, power, confidence

Personality Traits: Cathegorical-consequential, straight priorities, decisive, industrious, hard-working, ambitious, results-oriented, pragmatic

Introverted Thinking

Associated Skills: Logical reasoning, problem solving 

Mental State: Detached Analysis, sorting, categorizing

Emotional Climate: Awe and fear, curiosity and confusion

Personality Traits: bold, independent, aloof, inquisitive

Introverted Feeling

Associated Skills: Artistic proficiency, interpersonal perceptiveness, authenticity

Mental State: Receptive LIstening, takiing in/absorbing surroundings

Emotional Climate: Like & dislike, priority sorting,  

Personality Traits: self-aware, sensitive, contemplative, ethical, creative, intense

Extroverted Feeling

Associated Skills: Social Proficiency, caretaking, servicing humans, persuasion

Mental State: Passion & Fervor, series of experienced moods

Emotional Climate: Approval or disapproval, embrassment or righteousness, cultivating appropiate atmospheres, mirroring others

Personality Traits: Usually a common sensey mature person with a passionate expressive side, emphatetic, generous, affectionate

(As the feeling functions  process, well, dynamic feelings, they’e the hardest to classify in a generalized manner here, too. Personality with F doms can depend a lot on enneagram, upbringing and/or social circle. Still, their conciousness is most likely full of “good/bad” statements and receptiveness to people)

Despite the hardship, Leia always finds the hope in any given situation. This time, her story is entwined with Poe Dameron, the hotshot X-wing pilot played by Oscar Isaac. Their relationship is not just general and warrior.

They’re family.

And in Star Wars, the notion of family goes far beyond blood relations.

Poe is in some ways a surrogate son for Leia,” Isaac tells EW. “But also I think she sees in him the potential for a truly great leader of the Resistance and beyond.”

In The Last Jedi, a torch is being passed. It’s about the peril of meeting your heroes, facing down disappointment, and rising to fight nonetheless. Just as Luke Skywalker – reluctantly – may be passing on his knowledge of the Force to Rey, Leia is guiding Poe, encouraging him to look beyond the crosshairs in his cockpit. There are other ways to fight, other ways to lead.

“Poe’s arc is one of evolving from a heroic soldier to a seasoned leader, to see beyond the single-mindedness of winning the battle to the larger picture of the future of the galaxy,” Isaac says. “I think Leia knows she won’t be around forever and she, with tough love, wants to push Poe to be more than the badass pilot, to temper his heroic impulses with wisdom and clarity.
Classpect Glass Half Empty/Half Full
  • Life: the glass is half full (optimism)
  • Doom: the glass is half empty (pessimism)
  • Light: let me get out my ruler (knowledge)
  • Void: technically the glass is more full of nothing than actual matter because atoms are mostly empty space (irrelevance)
  • Rage: the glass has water in it (single-mindedness)
  • Hope: the glass is entirely full, half air and half water (open-mindedness)
  • Space: go top off the glass and it'll be totally full (creation)
  • Time: the glass is gonna be totally empty if you just let it sit there and evaporate (destruction)
  • Mind: are you actually ever going to finish drinking your water? (choice)
  • Heart: already drank the water because HELLO I was thirsty that's why I got a glass in the first place (desire)
  • Breath: the glass will be totally full if I pour the water into a smaller glass (change)
  • Blood: the glass doesn't matter at all, the amount of water is the same regardless (unchangingness)
Patience and Apples

Summary: Mulder shows Scully the benefits of relaxing and patience.


Rating: NC-17, Light food sex, NC-17

Scully came out of the bedroom to find Mulder facing the sink in just his boxer briefs. “Humm, not bad.” She says under her breath.


Mulder jumps at the sound almost cutting his finger in the process. “Scully, give a guy some warning will you!”


She walks the rest of the way into the kitchen stopping just short of touching him and raises up on her tiptoes to whisper in his ear. “You’re an FBI Agent. Shouldn’t you be a little more aware of your surroundings?”

Mulder shivers from her warm breath in his ear and what he believes are the tips of her nipples grazing his naked back. He gingerly places the knife and apple he was peeling on the counter and spins around to grasp her hips.


Scully is surprised by his sudden move but squeals in delight as he scoops her up and places her on the counter next to the stove. He looks at her flushed face and tousled hair. His eyes darken as they follow the column of her neck to her gaping robe. Scully is steadily watching his expression as it changes from joy to possessiveness to lust. It makes her mouth go dry and breathing shallow. One thing is for sure, Mulder’s single-mindedness is not lost on her body.


Mulder lowers his mouth to the curve of her neck and runs his tongue along her skin to the hollow of her throat, his hands sliding down to the loose tie of her robe. “Miss Scully, is this how you dress to entertain all your guests?


“No,” she breathes. “Just the special ones.”


The robe falls open to expose her naked body. “Fuck, Scully. How was I ever able to live without seeing you like this. You’re so beautiful.” His lips brush her collarbone and suck against her salty skin. He can feel her pulse quicken under his touch.


How did he get so lucky, he thinks as his hands skim inside her open robe and up to brush her taut nipples.


“Mulder, please.” She begs, rocking her hips to get closer to his body.


“Miss Scully, you sound desperate, wanton. Didn’t I service you just a few hours ago? I believe you screamed my name.”


She should be embarrassed, she should slap him for being so crude but instead she grabs at his shoulders and pulls him closer. She opens her legs wider and hooks her feet behind his hips. His cock is hard and straining against his underwear when it makes contact with her wet folds. “Aww!” She cries.


“Christ, Scully.” Are his last words as he captures her mouth and leans her back on the counter.


Their kiss is sloppy and frenzied. Lips, tongues and teeth fighting for dominance. Scully is using her toes to push his boxers down past his hips as he works his left hand under her back to draw her closer.


Scully is steadily rocking her pelvis against his, while she gropes at his body trying to bring him closer.


Mulder chuckles. “Scully, baby. Relax I’m not going anywhere.” He pulls her up to sit on the edge of the counter and slides his hands under her backside . He hoists her up and she yelps before tightening her arms and legs around his body.


Mulder reaches out and picks up the apple and knife from the counter and heads through her apartment towards the bedroom.


Scully barely registers his movements, lost in the skin of his neck. She is kissing and licking his body as he carries her to the bedroom. Once there Mulder lowers Scully on the bed and she scoots to the middle, only then seeing the apple in his hand.


Her eyes are dark, her chest is rapidly rising and falling and her skin is flushed with arousal. She pinches her brow, “Mulder, is this really a time for a snack?”


“Well Scully, in an effort to show you the benefits of relaxing and enjoying the ‘ride’ as it were, I thought I might tell you a story about apples.” A smirk plays across his face as he witnesses the highest eyebrow arch he has ever seen.


“Really, Mulder? Apples.” She sighs.


“Yep. Just hear me out, Scully. You won’t be disappointed.”


Mulder sits close to her body, his hip brushing hers. He picks up the apple and knife off the nightstand and begins slowly cutting a slice out of the fruit.


“Scully, did you know some apple tree varieties take 5 years to bare fruit?”


The apple is juicy and a drop lands on her shoulder. Mulder takes the slice and runs it along her parted lips before slipping it past his own. As he chews he leans down to kiss away the juice on her shoulder.


Scully shivers at the contact and her breath quickens. Mulder cuts another slice and this time a drop of juice lands in the hollow of her throat.


“Patience, Scully. Five years is a long time to wait for an apple.” This time he licks the liquid from her body and she moans.


“Can you imagine all of the things that happened to that tree in five years?” He whispers and eats the next slice. Mulder cuts another wedge from the fruit and several drops land on her right breast.


“Mulder.” She breathes


“Yes, Scully. So many things.” He leans in and begins to clean the juice off her skin as he continues his story. “Rain,” Lick “Wind,” Nip “Sun,” Suck “Snow.” Kiss


All those things were important to make the tree strong. “Slow and steady, Scully.” His tongue brushes across her hard nipple and she cries out grasping for his body to hold him in place.


Mulder pulls back. “No, no, relax. Let me finish.” His next slice causes a stream of liquid to run down her stomach and pool in her navel. Her back arches off the bed at the sensation. Mulder drags the piece he just cut down the trail the juice left and dips it into the pool at the end. He pops the fruit in his mouth and lets his tongue follow the line of the fruit.


“Scully,” Goosebumps raise on her skin and she lets out a shuddering breath. “All those things are important to, in the end, make a perfect apple. Sweet, juicy, tangy and tart.” Mulder cuts the core away and the last drops of juice slip into her light curls and down her folds.


Scully gasps at the feeling and Mulder drops the core and knife back in the bedside table. He moves down her body, chewing the last piece. He swallows and watches her hips roll and buck under his gaze.


“You see Scully, patience.” He licks the curve at her hip. “Savor the moment.” He moves to her other hip and gently nips her skin.


Scully is whimpering and begging to any deity that will help her. He moves his hands to spread her thighs. “Time made that apple, Scully” His thumbs part the folds.

He leans in to swipe his tongue along her opening.


She screams out and finally makes purchase on his hair. He chuckles and runs his tongue along her again, this time circling her clit. Just as she is relaxing into his touch, he pulls back.


“Slow,” he sucks her clit between his lips. “Steady,” he slides a finger into her body and pumps a steady rhythm.


Scully is so close. Her legs are trembling and she pulls his hair to keep him in place. Mulder adds a second finger and she’s gone.


Scully’s hips arch off the bed and her mouth opens in a silent scream. Mulder watches in fascination as she comes. This is a sight he will never tire of as long as he lives.


Scully lays boneless and he slips off the bed to remove his boxers. He is glad they have been at it hot and heavy the last few days, otherwise he would have probably lost it in the kitchen.


Scully opens one eye and sees Mulder leaning over her, his tongue poised to take her left nipple in his mouth. “Mulder.” She sighs, that was… was, well, God… I haven’t ever,”


“Scully, very eloquent words. Hits me right here.” He quips, patting his chest. “But if you don’t mind, I have a little something I’d like to take care of.”


“Just a little something, Mulder?” Scully questions and Mulder looks down at his rock hard dick and grins.

“Oh, Mulder,” she pouts, as she pulls him down on the bed, straddling his hips before sinking down on his length. “Let me tell you a story.”

Listen I love Harry Potter you all know that I sold my soul to those books a long time ago so listen to me when I say that y'all need to stop defending the canonical actions of Slytherin House
Stop it with these reaches of the century about how Slytherin “wasn’t founded on bigotry” and how “we don’t know if everyone in Slytherin in the books was a pureblood so how do we know they were all purists” and “they were traditionalists trying to preserve Wizard Culture uwu”

Slytherin House was founded by a man who wanted to exclude part of the wizarding community based on something they couldn’t control (heritage). I don’t care about his reasoning. He left a Murder Snake in a school knowing that his descendants would use it to kill all of the muggleborns in Hogwarts.

Yes. We know that not every Slytherin was Evil.
Andromeda Black married a muggleborn. Regulus Black became one of the most important heroes in the series. Horace Slughorn is one of the best examples of a morally grey character.
And there were probably others, but on the whole, the wizarding community saw Slytherin as the house of Voldemort and people who agreed with him.
Regulus Black still joined the Death Eaters before he graduated Hogwarts and no one knew that Regulus worked to defeat Voldemort until almost 2 decades after his death.
Andromeda was disowned after marrying Ted and her own sister wanted to brutally murder Nymphadora.
Snape was much more accepted by Slytherin when Harry was at Hogwarts than Slughorn was. Why? Maybe it was because he played favorites. Maybe it was because he had been a Death Eater.

And yes. We know for a fact that not everyone in Slytherin was a pureblood. Tom Marvolo Riddle had a muggle father and he was a Slytherin. If Lord Halfblood was a Slytherin and ended up creating a terrorist organization intent on committing genocide in the name of “finishing Salazar Slytherin’s noble work” then perhaps he wasn’t the only one.
Also you have to consider that during and after Voldemort’s rise to power (which according to the first chapter in the whole series was 11 years before his downfall) the fact that Blood Purist #1 was the heir of Slytherin had to influence people’s wishes when they were being sorted.
Kids who didn’t want to be associated with Slytherin for some reason or another (Sirius, Harry) were sorted elsewhere
Whereas anyone who had clear and mostly positive ties to Slytherin and wanted to be with like minded individuals (the Malfoys, Snape- another halfblood) were sorted accordingly
When a group of people all agree with each other they tend to become more radicalized because there’s no one to counter the group’s single-mindedness
So in the time between Voldemort’s first rise and Harry’s first year there had already been 20 years worth of sorting the like-minded (i.e. blatantly bigoted) kids together and sorting anyone who disagreed elsewhere
20 years worth of internal radicalization before Harry even got to Hogwarts
But sure Slytherin wasn’t labeled as the purist house at Hogwarts

I saw someone compare Canon Slytherins to the American Conservatives and I couldn’t believe it when some people literally started using Republican jargon to defend canon Slytherin values
“They were traditionalists trying to preserve wizard culture from outsiders!!”
What?!
Do you realize what you’re saying?!?
“We need to protect our country from outsiders!” “Protect traditional marriage!” “We can’t let them in here!”
Guys the kids in Slytherin House were a lot like the young republicans of today and if you can’t see that then maybe it’s time to reread the series

Anyway I get it
You’re sick and tired of being labeled as The Bad Guys
But consider: defending the actions of bad people doesn’t stop them from being bad people
It just means you’re defending bad actions
In the series, Slytherin House was full of radicalized elitists who spouted bigoted ideas. Many of whom joined a genocidal terrorist group before even graduating.
But just because it was that way in the books doesn’t mean all of you who identify as Slytherins are bigoted elitists
You’re a Slytherin because you value ambition and cunning and resourcefulness (and the color green)

It’s great that you’re a Slytherin
But that doesn’t mean you have to defend everything Slytherins did

10

Fantastic Beasts and Where to Find ThemThe Niffler and Newt Scamander

“Niffler may become a bit of a star and I hope it doesn’t go to his head. Newt and he already have quite a love-hate relationship. It’s just incredibly aggravating and wonderful at same time. He’s a complete nightmare, yet Newt gets off on his playfulness and single-mindedness. I think that if his ego gets even more inflated that might cause carnage in the future.” Eddie Redmayne

Downton Abbey: Sybil Crawley – INFP

See also this post about Sybil, as well as my other Downton Abbey typings (so far).

Fi: The first impressions we get of Sybil are of her kindness and empathy (She defends Edith’s crying after Patrick’s funeral, tries to reassure Mary (“I know you’re sad about Patrick. Whatever you say, I know it.”), and she makes it her mission to help Gwen find a job as a secretary.). We also get to see her valuing morals early on, first through gentle remonstrations to her sisters (Mary: “I was only going to marry him if nothing better turned up.”, Sybil: “Mary, what a horrid thing to say.”, “You shouldn’t laugh, that’s so unkind.” (about Mary and Edith likening Matthew to a sea monster)), but then also by giving her opinion freely and being perfectly honest about things (“Of course it is [worth it], because of the people who will live in them.” (about Robert and Matthew restoring houses in the village), “I know this is hard for you to grasp, but I’m not there to go out to dinner. I’m there to learn.”, “He is a person. He can discuss other things.”, “I’m nor eloping like a thief in the night. I might have once, but Mary and Edith talked me out of it.”). She has a deep interest in helping others and doing good (“Because it’s the gloomy things that need our help. If everything in the garden’s sunny, why meddle?”), and she is passionately immersed in her causes (“Papa, I’m sorry I disobeyed you, but I’m interested. I’m political. I have opinions.”, “Blame me.”, “I will not give him up!”). Others often mention her gentleness when describing her (Isobel: “Her innocence will protect her.”, Mrs Hughes: “The sweetest spirit under this roof has gone.”, Thomas: “In my life I can tell you not many have been kind to me. She was one of the few.”, Mrs Hughes: “She was a sweet, kind person. And a real beauty. Inside and out.”, Gwen: “Her kindness changed my life.”), but also her single-mindedness (Matthew: “I admire Sybil’s passion, though.”, O’Brien: “So, Lady Sybil got off all right in the end. I’m afraid we have to admit, she knows what she wants.” Cora: Yes. She certainly does.”, Mary: “We can’t leave all the moral high ground to Sybil. She might get lonely there.”, “But I am sure! How many times do I have to say it?”, Anna: “Aren’t I as strong as Lady Sybil?”, Mary: “Sybil’s the strong one. She really doesn’t care what people think, but I’m afraid I do.”, Branson: “There aren’t many as free as my Sybil.”). She’s sensitive and quick to take offence at indirect or implied criticism (“What do you want from me? Am I to see if Sir Richard Carlisle has a younger brother? One who’s even richer than he is?”, “Appropriate for whom?”, “I don’t deserve to be told off. Not by her or by you.”, “Perhaps. But we do have feelings and don’t make the mistake of thinking we don’t.”). As she always gives 100% of herself into something, she desires the same whole-heartedness from others (“Then be on my side!”).

Ne: Sybil enjoys the idea of something (“I think it’s romantic.”, “Why, Granny, you’re a romantic.”) and has no trouble in seeing possibilities everywhere, which she often uses to cheer other people up (“Then we must be ready by tomorrow, mustn’t we?”, “You’ll see. We’re not giving up. No one hits the bull’s eye with the first arrow.”, “Then I’m a fool for I’m a long way from being beaten yet.”, “Then that’s why we must stick together. Your dream is my dream now, and I’ll make it come true.”, “But have you filled the post yet? Because I know just the woman.”, “Trust me, you have a talent that none of the rest of us have. Just find out what it is and use it.”, “But you believed in him, whoever he was, and that’s worth something.”). She’s often frustrated at other people being unable to think outside the box (“Women must get the vote, mustn’t they, Branson? Why does the prime minister resist the inevitable?”, “Why will we only have officers? Surely all wounded men need to convalesce.”, Mary: “The chauffeur? Branson?” Sybil: “Oh, how disappointing of you.”, “But I’m not giving up my world! They want to give me up. That’s their affair. I’m perfectly happy to carry on being friends with everyone.”). She usually believes the best of people (“I expect Mary was just showing the duke the house, weren’t you?”) and isn’t prejudiced against them because of social rules (for example, she tries to defend Matthew from her sisters when he first arrives). She is excited with new ideas that are congruent with her values (Fi-Ne), seen in her enthusiasm to help Gwen (“I think it’s terrific that people make their own lives, especially women.”), her interest in politics and feminism, even in her love for Tom Branson (“That I’m ready to travel…and you are my ticket.”). They also help her when she’s feeling down (for example when Isobel cheers her up by suggesting to train as a nurse and learn new things, like cooking.) She often challenges the status quo and doing things in a certain way just because it is done like that (“But nobody learns anything from a governess apart from French and how to curtsy.”, “I don’t know why we bother with corsets. Men don’t wear them and they look perfectly normal in their clothes.”). She takes her inspirations from the world around her and is constantly comparing situations and ideas in her head (for example she has the idea for Gwen to fake being ill in order to go to her interview from Anna having been ill the day before, and she is inspired to give Tom her final answer by Matthew and Lavinia announcing their marriage.). Since she seeks meaning in everything, she doesn’t value things without seeing a point to them (Ne-Te) (“But what is the point of Mama’s soirees? What are they for?”).

Si: Though fascinated by new ideas, Sybil prefers to mix novelty with the familiar, and in details – for example with her “new frock” (“Can it be my choice this time?“, Edith: “What do you want her to make?” Sybil: “Something new and exciting.”, “Is there anything more thrilling than a new frock?”). She knows her family well enough to not expect support in her political interests (“I knew you wouldn’t approve.”), and thus keeps her visiting political events a secret. She is also bitter about them wanting to return to the state of things before the war (Sybil always is completely immersed in the present: Branson: “So you wouldn’t go back? To your life before the war?” Sybil: “No. No, I can never go back to that.”, “But I just can’t think about it all until the war is over. It won’t be long now. So, will you wait?”, “They were sighing for the old days at dinner, but all I could do was think about how much more I want from life now than I did then.”, “I don’t want to get used to it.”). She pretends not to feel the parting when she goes to train as a nurse, but once she is alone in the car, she starts to cry, and she tells Branson that it’s hard for her to let go (“It’ll be hard to let you go, my last link with home.”). She also admits to him that she finds it hard to break away from her old world (“You say I’m a free spirit, and I hope I am. But you’re asking me to give up my whole world and everyone in it.”), and her meditation on whether or not she loves Branson takes two years. After her hasty decision to elope with him, she is quickly persuaded by Mary and Edith to return to Downton and to pursue a more open and gradual (Fi-Si) way of change (“I don’t like deceit and our parents don’t deserve it. So, I’ll go back with them.”). She also gets suddenly uncomfortable when Branson enters the drawing-room to let them know about their engagement (“I don’t think this is such a good idea. We mustn’t worry Granny.”). She’s also uncomfortable with Branson causing conflict after their return to Downton and tries to smooth things over (“Please don’t talk about Ireland all the time. I just want to make things easier for you.”).

Te: Seen in her need to take action in order to help others (as with Gwen), and later explored in her growing need for “real” work (“I want to do a real job. Real work.”, “I know what it is to work now. To have a full day, to be tired in a good way. I don’t want to start dress fittings or paying calls or standing behind the guns.”), Sybil is always searching for a task in order to feel useful and to have a purpose (“I just feel so useless.”, “but I feel useful for the first time in my life, and that must be a good thing.”). She also advises Edith to seek work as a remedy for her low spirits (“It’s doing nothing that’s the enemy.”). She is soft-spoken and kind, but she gets blunt and outspoken when it comes to her opinions and decisions. She is unapologetic about her values (“If you mean do I think women should have the vote, of course I do.”, “But I don’t acknowledge it. You want me to give up the man I love for a system I don’t believe in. Where’s the sense in that?”), and when really angry, she gets aggressive and tends to be harsh and extreme (“If you punish Branson, I’ll never speak to you again, never!”, “But if I find tomorrow that Branson is missing, I’ll run away, I warn you.” […] “Well, I can’t think now, but I will go, and you’ll be sorry.”, “I don’t want any money and you can hardly lock me up until I die!”). She longs to live her feelings and values, finding satisfaction in an “all or nothing”-attitude (“It is drastic. There’s no going back once I’ve done it, but that’s what I want. No going back.”, Branson: “You won’t mind burning your bridges?”, Sybil: “Mind? Fetch me the matches!”). She also has a streak of sarcasm (“Well, bully for that.”, “Am I so weak you believe I could be talked out of giving my heart in five minutes flat?”) and sass (“Then she can jolly well wait.” (about Violet), “Hear, hear!” (to Anna’s opinion on suffragettes), “Good evening, everyone.” (showing off her trousers), “Really, Branson, I thought I gave the orders.”, Edith: “I shan’t sleep a wink.” Sybil: “Tonight or tomorrow.” Violet: “Sybil, vulgarity is no substitute for wit.” Sybil: “Well, you started it.”). Since Te is her inferior function, it makes her prone to precipitous action (seen for example in her elopement with Branson, or “Everyone knows that [how to fill a kettle]).

The Gift of a Week

Doing anything with single-mindedness is hard. Doing it for a week is harder. God’s invitation to us in the week ahead is an audacious one; “Give me a week and I will remake the world”. Contained within this promise is the equally powerful personal promise; “Give me a week and I will remake you.” Dwelling in the stories, songs, prayers and silences that made up the last week of Jesus’ earthly ministry is challenging, but it does something to us, it opens us to the possibility of resurrection in the Easter story and in our own lives.

Palm/Passion Sunday

The coming weekend reminds us of the highs and lows of the week. We sing hosanna (please save us!), we wave branches and we remember Jesus’ joyful entry into Jerusalem. We also remember how this triumph turned tragic as the politics of the day had no room for a leader named Jesus.

Holy Monday

Jesus wasn’t timid during his visit to the Holy City, after that grand parade he got busy chasing the moneychangers and animal dealers out of the courtyards of the Temple.

Holy Tuesday

Jesus is surprised by an extravagant gift of love. During a dinner at a friend’s house, a woman pours expensive perfume all of his head, anointing him for burial. His friends struggle with the apparent waste, but he urges them to be generous in all things and to see what lies ahead.

Holy Wednesday

Sometimes called Spy Wednesday, this is the day associated with Judas and his plot to turn over Jesus for 30 pieces of silver. What could someone get you to do for a month of wages?

Maundy Thursday

From Mandatum or command, this day recalls that Jesus instructed his friends during his final meal before his arrest. He commanded them to love one another, represented by the washing of feet. He commanded them to remember him with the special Supper that he celebrated that night.

Good Friday

We read the story of the passion and crucifixion, not to feel morally superior to Jesus’ tormentors, but to recognize ourselves in them and to see the mercy Jesus extends to them and to us. We reel in the sadness of the loss and cry out in desperation “Remember me when you come into you kingdom!”

Holy Saturday

A time for silence, for watching and waiting. A time to keep vigil in all the places where death claims to be the last word. A time to contemplate the depths that Christ would go to, knowing the despair of death after death, before revealing true life after death.

Easter Vigil

We emerge from our silence to remember stories of salvation, to listen for Good news, to welcome new siblings into the family of God, and to sing the first songs of praise in the night!

Easter Day

From sunrise to sunset, we marvel in the power of God to make a way where there is none and to bring life out of death. In our worship, our festivities and even the quiet dinner of leftovers Jesus is present.

I urge you to use this listing as a guide, even if you can’t gather with others during each step of the way, to reset your mindfulness of Jesus’ journey to the Cross and beyond each day. Take time to pause, read the passages in your bible, imagine each scene and soak in what it means when the shouts of “He is Risen” fall on your ears.

Peace and Good Beloved!