Hinata was returning from a week long mission in Suna when she spotted the fallen hawk buried in some underbrush. She could tell it was a messenger bird immediately, from the scroll attached to it’s leg, but she hadn’t realized it was Sasuke’s bird until she knelt beside it.
In the spring of 1860, Kentucky abolitionist Cassius Clay was giving a speech in Hartford, Connecticut, when he was threatened by a pro-slavery Democrat. A young Republican bodyguard in his early 20s leaped forward and clobbered his assailant with his torch, defending Clay. The story quickly circulated, and the bodyguard and his friends in Connecticut used their newfound reputation to help build a new anti-slavery political group.
They called themselves the “Wide Awakes.” They held late-night meetings in saloons to talk about the Republican causes of the day. Membership required attendance at local government meetings and spending several hours every week promoting the Republican ticket. Wide Awake crowds began showing up in the middle of the night at the homes of prominent lawmakers, often yelling and singing until the politician woke up and agreed to talk. The Wide Awakes threw wild parties and donned unmistakable uniforms: glimmering jet-black robes, long flowing capes, top hats, and 6-foot torches often emblazoned with their logo, an open eyeball.
By the summer of 1860, there were more than 100,000 Wide Awake members gathered into about 1,000 separate clubs across the country. Proportional to population, that would be equivalent to 1 million members today. That fall, the movement played a significant role in mobilizing voters and powering Abraham Lincoln’s electoral victory.
The idea of such a swift and massive uprising of young people may seem unusual from our vantage point, but it was not unusual for the era. In a fascinating and timely recent book, The Virgin Vote: How Young Americans Made Democracy Social, Politics Personal, And Voting Popular, historian Jon Grinspan captures the soaring heights of youth involvement in American politics in the mid- to late 19th century — which he describes as a golden era of youthful popular politics. He makes clear just how far we’ve fallen since then.
Grinspan’s central insight is that we’ve lost the social incentives that once made anything but near-constant political engagement unthinkable for millions of young people.
Politics, he argues, did not gain massive popularity among the young because of the thrill of high-minded policy discussions and reasoned, wonkish debate. Instead, it did so because the 20-somethings of the mid-1800s saw it as vital to fulfilling more fundamental longings — vital to maintaining a group of friends, to socializing, to entertainment, to building a career, even to getting laid. Grinspan says that leaving childhood to become a man — or a woman, in some cases, despite the lack of voting rights — depended on forging a political identity in a way that’s totally alien to us in 2017.
At its core, Grinspan’s book suggests that if we’re ever going to truly solve the long-running crisis of young people’s rejection of politics — one that contributed to Donald Trump’s win — the best bet lies in somehow rekindling those same motivations.
In the 1800s, elementary schools were breeding grounds for “violent little partisans”
They started young.
In the 19th century, schoolhouses — where they existed — served as a “petri dish for popular politics,” Grinspan writes. One popular chant, “Democrats eat dead rats!” was a favorite of Whig schoolboys in the South and Midwest. In unruly classrooms, boys chanted slogans taught by parents and older siblings, and they brawled with partisan rivals in the playground. (In 1876, one group of Republican 8-year-olds in Kansas choked a classmate with his Democratic scarf until he passed out.)
Teachers were expected to read the results of elections in the classrooms. Dozens of children’s diaries show that political arguments frequently dominated the classroom discussions, with academic lessons sometimes an afterthought.
Campaigners staged rallies explicitly to draw young children. They made a point of making sure floats featuring live raccoons, foxes, eagles, and bears appeared alongside the political candidate to make them appealing to kids. They offered leather balls to play with and set off fireworks — entertainment primarily for the children.
On Election Day, children as young as 6 became “errand boys” for campaigners, transporting vital messages and news. Some were tasked “with dragging the tipsy voters in town to the polls.”
All of this made politics look like a clear stepping stone to adulthood. “Campaign spectacle helped the wavering outline of a child’s nature form into a personal, political identity,” Grinspan writes.
Casting “the virgin vote”
Spectators at a Tammany Hall rally through NYC’s Union Square toward the end of the bitterly contested 1884 presidential campaign.
Crossing the threshold from political boyhood to political adulthood was described in terms that sound very much like modern discussions of puberty.
In fact, that era’s contemporaries referred to one’s first vote as a “virgin vote” (the inspiration, obviously, for the book’s title). A “virgin vote” was a risk, a thrill, and a potential source of anxiety. Casting a vote for the “wrong” party, Grinspan writes, might be compared to choosing the wrong romantic partner and catching “a bad case of syphilis.”
The moment a young partisan cast his first ballot was seen as a bridge to adulthood, in a period in which Americans were deeply proud of their status as the world’s most egalitarian democracy (though, of course, one for white men only).
In which you see colors whenever you touch your soulmate, only if it’s skin-on-skin contact.
ROGUE ONE SPOILERS; PROCEED WITH CAUTION
Cassian watched you as you slowed your labored breathing down, your eyes shut as your hands trembled. The message had gotten through, and for a moment, you had thought the plans were never going to make it through the shield, that all your work was for nothing.
i haven’t seen moonlight yet personally but i’ve read a lot on it and i know about the vital message of the film and its portrayal of systematic oppression and sga between two men of color and the fact that it resonated so much with dan is just truly such a nice thing to see
One of the things I really love about the music choices in s3 is how when they play with time and the fourth wall? I love that we get Even recreating the iconic Romeo + Juliet slowmo walk to Talk Shot Host two days after it’s established that Even loves Baz Luhrmann… but a day and a half before Isak watches R + J and hears the song himself. When you’re watching, the background noise fades out like it’s something Isak himself is hearing but I like that he doesn’t have reason to hear it yet, I find it really playful and interesting. Then, the next reference of Desiree’s Kissing You happens when they’re finally on the same page: they get together and this time, they both are getting the R + J reference.
It happens with other songs too, like, I love that Nas’s The Message plays immediately after Even tells Isak they’ll listen to it. I like the ambiguity of not knowing whether they actually listened to it then or if this is calling forward to a future time when Isak pulls it up. And then later gets explicitly referenced in the note he leaves for Isak, that it is one of their songs.
And maybe most notable is the fourth wall break when Nils Bech singing O Helga Natt and makes eye contact with Isak. He directs the song to him and it’s that moment that sends everything clicking together for him. You can imagine that Isak really is running with the song still ringing in his ear, blending in with his thoughts of Even.
Otherwise, I like that a lot of iconic songs are actually happening within the scene: Call Your Girlfriend actually plays, Hate Me Now has that great humor cut, Even lipsyncs apt 5 fine frøkner lyrics to Isak. The song choices in Skam are very lyrically on the nose but it really works for me because they’re such a conscious part of the construction of the universe. They exist both outside the characters and for them directly.
It works particularly well for me that this season, Even often ‘speaks’ through music. After he and Isak are together, we see him communicating in song lyrics several times. Not just shallowly either, his texts of Nas’s Cherry Wine are so poignant because he’s trying to reach out to Isak after his episode through them. So, it’s interesting that the majority of these self-referential songs come back to Even’s interests: Baz Luhrmann, Nas, Gabrielle. I love the idea that when we hear Talk Show Host in that iconic scene… it’s actually coming from Even himself and we the audience hear him before we truly know him.
There even a touch of this in s4, Sana connects with the Nas lyrics (”You have to keep your vision clear cause only a coward lives in fear”) she sees on a poster in Isak and Even’s apartment in a vital moment. The message is one that both Isak and Even could identify with but Nas is more Even’s within the show. And then on the one day we got Even’s pov, we also got a song directly from him: setting his birthday video for Isak to Gabrielle’s Nattergal. Fittingly, that song is about having plans to get your life in order, tell someone you love them in a big way but only having the ability to write a song. It’s ringing message is “So, if you were a song, I’d write you and sing you all night long / Oh, if you were a song, I’d learn you and play you like a nightingale.” Isn’t that what Even had been trying to do throughout season three, send Isak his feelings in a song? Now he gets to say it even more directly, that Isak is the song for him. That’s where we let the curtain fall with Even, on their story and their song.
mmmm no offence but charles xavier is literally the privileged white boy raised in money who says "listen we need to REASON with these people. we have to give EVERYONE a platform for a FAIR conversation" like buDDY. how u gonna talk to someone who SHOOTS YA ON SIGHT?! magneto was right and his message is VITAL.
thank u zack i know you will always back up my Jewish Rage™ and i love you for it <3333
As someone who's heard that Romeo + Juliet (dir. Baz Luhrmann) was the "most accurate to the screenplay, technically" but also that it wasn't as accurate as it could be, plus all the other pro/con arguments abt it that float around, I was hoping you could tell me why you dislike it? Thank you!
So, I decided to watch the movie again before answering your message (that’s mainly why I took so long to reply! I’m sorry) because the last time I watched it was like five years ago, and I actually loved it this time around? I’ve been fangirling the whole night.
I agree that Luhrmann did a fantastic job in ‘translating’ the society of Shakespeare’s Verona into the contemporary world. The misogyny, the cult of violence and masculinity—all these aspects were brilliantly shown by Luhrmann. Besides, the rhythm of the movie is marvelous. All the scenes are governed by this impulsive, erratic speed. It gives you no time to think; you get carried away by its rash haste. The crazy speed of the play is one of my favorite things because it’s like, a huge emotional rollercoaster.
Still, I’m uncomfortable with the way Luhrmann filmed Romeo and Juliet’s first conversation—Juliet literally has to step back to prevent Romeo’s mouth from touching hers right when he says, “have not saints lips and holy palmers too?”. It looks so self-assertive, it makes me cringe. They’re literally creating a sonnet together, it should be beautiful and not creepy. And then there’s this new scene where we see Romeo arrive at Juliet’s bedroom on their wedding night, which I think is nonsense. I talked about it here.
Another part that I found disappointing was the portrayal of Romeo’s despair when he receives the news of his banishment in the friar’s cell. He should be “on the ground, with his own tears made drunk”, “taking the measure of an unmade grave.” He is so desperate and anxious that he even attempts to kill himself just to destroy his Montague self. However, Leo is too serene. I can’t help comparing his acting with Leonard Whiting’s portrayal, who was cut out most of the lines in this scene but who managed to accurately show Romeo’s anxiety nonetheless. Another thing I’m not sure I like entirely is the “balcony” scene. In the original play, Juliet is locked inside her window and therefore they cannot touch, let alone make out in a pool. I find it very significant that they don’t even touch in the longest, probably deepest conversation they have, but I felt like Luhrmann over-sexualized the scene unnecessarily. And then, as usual, they didn’t make Tybalt come back after Mercutio’s death. It’s quite an important little detail—both the fact that Tybalt came back to Romeo and that Romeo only suggested revenge after Tybalt’s return. (Tybalt would never run away from a fight? He is too arrogant to do so.)
The death scene is most likely what I dislike the most, though. To begin with, I think the scenery, pretty though it is, isn’t really appropriate—it should be dark, scary, the way a “nest of death, contagion, and unnatural sleep” should be, only lightened by Juliet’s beauty and not by pretty candles all around (“Her beauty makes / This vault a feasting presence full of light”). The place should correspond to Juliet’s fears:
Shall I not, then, be stifled in the vault,
To whose foul mouth no healthsome air breathes in,
And there die strangled ere my Romeo comes?
Or, if I live, is it not very like,
The horrible conceit of death and night,
Together with the terror of the place—
As in a vault, an ancient receptacle,
Where, for these many hundred years, the bones
Of all my buried ancestors are packed:
Where bloody Tybalt, yet but green in earth,
Lies festering in his shroud; where, as they say,
At some hours in the night spirits resort—
Alack, alack, is it not like that I,
So early waking, what with loathsome smells,
And shrieks like mandrakes’ torn out of the earth,
That living mortals, hearing them, run mad.
It should be that terrifying. And, most importantly, it should specifically be Capulet’s crypt rather than some random church. Basically because by poisoning himself in the vault of his wife’s family, Romeo is destroying the patriarchal system (as well as reinforcing again his rejection of his own surname and the whole feud; he chooses to “set up” his “everlasting rest” in Capulet’s tomb rather than in that of Montague).
I find it very symbolic that they both die alone, surrounded by Tybalt’s and Paris’ corpses—the two men who thwarted their love the most—; I actually think it’s very significant to make them die separately. It reinforces the repressive isolation that they both experimented throughout the play. If you think about it, we not only witness the evolution of their love but also their evolution as individuals. We get to see how their relationship alters their social identities (i.e. Romeo’s willingness to love Tybalt, Juliet’s sexual liberty, etc.), and when their society rejects these new identities, they tragically decide to commit suicide. (More on this here.) I think they not only kill themselves for each other, but also for themselves, and this is something that’s highlighted by the fact that they die alone.
Besides, having Juliet wake before Romeo’s death kind of blurs the Liebestod trope—that is, death is not truly dividing them, but finally bringing them together. They kill themselves because they cannot be together in life, ergo Romeo promises he “will still stay with thee” because death will turn him into Juliet’s husband again. (There are actually lots of references to wedding rituals in this scene.) So when he says “thus with a kiss I die” (“die” meaning both to lose your life and to have an orgasm) he is not really saying farewell. He is kissing her right before dying to “seal with a righteous kiss / A dateless bargain to engrossing death”. However, in the Luhrmann version, Romeo dies thinking that death will separate him from Juliet, and so his last kiss is not a “dateless bargain” but a goodbye. (Overall his death lacks something if Juliet wakes in time. This awesome lesbian version also made Romeo die after Juliet’s awakening, but neither Luhrmann nor the lesbian production dared add new lines and he just stays speechless until he dies and I find it very weak? If Romeo saw Juliet live again, he would surely say something. If Shakespeare had wanted Juliet to wake before his death, he would have written it like that, but he didn’t. I feel like Luhrmann is changing the meaning of the scene just to increase the dramatic effects of it.)
I also think it’s highly important to make Friar Lawrence enter the scene between Romeo’s and Juliet’s deaths—he gives Juliet a very suitable option in terms of religion:
Come, I’ll dispose of thee
Among a sisterhood of holy nuns:
Stay not to question, for the watch is coming.
Juliet is breaking the rules again by refusing to hide at a convent and spend the rest of her life devoting herself to God and mourning her dead husband. She prefers to commit suicide. But what’s even more irritating about Luhrmann’s version is that Juliet doesn’t say a word after Romeo’s death, which weakens the character a lot. Their conversation ends with Romeo’s “thus with a kiss I die”. It’s a pity, because her last words are really potent, especially considering that daggers were seen as a masculine form of suicide (whereas poison was often attributed to women. My kids love burning down gender roles): “O happy dagger! This is thy sheath: / There rust and let me die” (with another pun on “to have an orgasm”). By introducing Romeo’s dagger into herself she’s again claiming her right to be sexually active. This metaphor is weakened by making her use a gun instead (AND BY CUTTING OUT HER DEATH SPEECH LIKE!!! HOW DARE YOU!!!).
Another thing that I wish were included in the movie is Capulet and Montague’s reconciliation. I find it vital for the message that the play wants to transmit. After all the violence, the prejudice, the social oppression, Romeo and Juliet’s death puts an end to the war between both households (I say households and not families). The patriarchs admit the wrong they did, and it’s just so satisfying to hear them apologize. I think this is kind of the whole purpose of the play—I would dare say this last conversation is the reason the whole story was told in the first place. The prologue focuses on the households’ violence, and it actually mentions Romeo and Juliet to express that their death ceased the violence:
Two households, both alike in dignity,
In fair Verona, where we lay our scene,
From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two foes
A pair of star-crossed lovers take their life,
Whose misadventured piteous overthrows
Doth with their death bury their parents’ strife.
However, in Luhrmann’s version, Capulet and Montague only stand side by side without saying a word while the Prince reprehends them, leaving up in the air whether or not they will take their children’s advice and replace hate with love.
Haven, thank you so much for reblogging the vital message. I heart TH. I tried to evaluate the situation without succumbing to blind anger or hate and to distance myself from Tom's feeling a little bit as it is unhealthy and presumptuous to think that I know what he feels about something personal. But this wouldn't exclude my sympathy for this responsible, kind human being. I will carry on with dignity and keep supporting his works and feel happy when he is happy. That's what matters in the end.
Hi, little gray face!
There’s a lot of unpleasantness in some corners of tumblr (and the internet) and the people who spread it are often aggressive. We should be very active in trying to spread pleasantness. :)
I understand what you are saying. It is true, we do not know what he is feeling and thinking about personal issues. I think we can form reasonable hypotheses based off of observations of his words and actions in the past. I think it is reasonable to suppose that all of this nonsense has at least some impact on him, however small. Is he sobbing himself to sleep every night with a torn up picture on the pillow next to him? I doubt it.
I agree, I think he is a kind and responsible person. He’s shown maturity and dignity by choosing not to throw stones or (be silent when others throw them). He was like that from the beginning. And now here we are, a year later, and people are still being ridiculous. Sad.
It would be easy to succumb to those feelings. Absolutely. It’s wonderful to see that he hasn’t, at least publicly, and so he is our example. :)
Yes, that is what matters. I want him to be happy. It doesn’t matter if he never attends another awards ceremony, it doesn’t matter if he’s “A List” or Z List, it doesn’t matter if never works with another famous director - it matters that he is happy and satisfied with his work.
Right now he is doing what he loves the most, with people he greatly respects. What a happy time for him.
“Greg and Rose fusing negates so many important aspects of their relationship and characters, it ignores vital lessons and messages the show is trying to get across, it isn’t supposed to happen,” I beg. But it is too late, my hand cannot be stopped, I cannot undo my sin.
The Spiritual Seance👻
Connect with spirit and be open to receiving the messages they reveal to you. By pulled cards and connecting energetically, I will deliver to you the messages I receive. Everything happens for a reason. Every message is vital.
The way I connect is I will clear my sacred space, light a candle and and call on spirit to come forward. I sit in a silent meditation and take in everything I am feeling, hearing and seeing. Everything is a message. I write it down.
Then I pull cards. I will pull for specifics. I will pull for clarity. I will pull for guidance.
These readings are available in email or video format. They will be delivered between November 1st-10th.
Limited Readings available! These will only be available for purchase through November 4th if not when they sell out. This is offered at a special price for the fall season. This service will be offered at a regular price later on. Enjoy!
Book your reading? 💀
Hey, here’s my wild Steven Universe theory … The Homeworld both represents forces of violent colonialism, slavery, and bigotry, and also is made up of individuals that are each ultimately portrayed as three dimensional people with sympathetic motivations and needs. And why is that?
Because colonialism, slavery, and bigotry all exist in the real nonfictional world, and all exist because of the actions and inactions of every day people. Yes, all people - but I’m looking at you specifically, fellow white fans!! We all knowingly and unknowingly exploit the oppressive structures we live in, to get a leg up, to get by, to protect ourselves and our families. And we hurt people. And most of the time, we rationalize away that fact, and we refuse to face it, because facing it is hard, frightening, and humbling work. But it’s the exact kind of work that Steven Universe champions, and we do it a great disservice to ignore that message!
SU is not about how a few “Villains” with cruel, wicked intentions ruin it for all the Good People of the world. SU is about how every last living creature in the world has a right to be alive in their own way, about understanding how and why we hurt each other in our attempts to to live - AND - it’s about taking responsibility for the ways we do great harm to each other, and taking active steps to change that.And perhaps most subversively, SU is about how decent intentions are not enough if you aren’t willing to change yourself. If you don’t fight to be truly kind in this world, you’ll stay trapped in toxic systems and relationships where you keep hurting and being hurt.
Again and again, SU has stressed that “healing” is neither an easy or a simple process. Steven’s greatest abilities are of course not his sparkly magical ones, but his great empathy and willingness to understand every living creature - intertwined with his choice to defend those who are being hurt, even when doing so means he has to stand up against the people he loves (Monster Buddies, Mirror Gem).
If you walk away from SU thinking that you’re nothing like Homeworld Gems and our culture in the USA is nothing like Homeworld’s, you’re wrong. If you only take away the theme that bigots also deserve a chance to learn and heal, and don’t also understand bigots must work hard to rectify the harm they’ve caused, you’re missing half the show! If you thinking that the show’s message is simply a passive “love everyone,” you’ve missed an incredible vital message that love and healing take action, and a willingness to challenge both injustice and your own assumptions about people.
‘Penetration visualises a process of disembowelment, extracting organs from withing the body and suspending them one by one by long woolen threads from the gallery ceiling. Stitched by the artist from pink, red and blue fabric; the organs include recognisable caricatures of the heart, kidneys, digestive tract and phallus, together forming a dense “forest of organs”. Three pink foetuses of varying size imagine the process of growth before birth. Messenger describes her work as “a fantasy inside out body, very strange and at the same time disquieting” unlike the sanitised images in storybooks.Three light bulbs are suspended between the organs; they sway gently with the passage of visitors around it, causing large shadows to waver across the gallery walls and heightening the work’s drama. Movement is central to Messenger’s works, some of which use fans or motors to suggest the power and vitality of life.’
The Sun is pervasive in its power, blazing with its message of vitality, and its presence in our lives equates to life-giving energy. It’s about confidence in yourself– not cocky, but profoundly sure of your power. Or you may be beginning to understand something, making sense out of chaos, and attaining a new level of insight.
M0dbot: some art I did today and with a little lore on Spartan Crossbow’s past
Crossbow and his team picked up Sangheili chatter about a
covi leader that Crossbow translated after learning to speak Sangheili. Crossbow
being a sniper stayed behind as his team advanced to the covi compound that
said housed a covi political figure, his team was captured as they were brought
outside for questioning, Crossbow tried to save his team but also was captured
before he could reload, the San’Shyuum leader; later in the war was known to be
the Prophet of Truth; Speaks to the defenseless ODST’s asking who is the one
who can understand the elites and who is the one responsible for decoding
messages vital for their “Great Journey” None of the ODST’s talk, Crossbow
plays dumb as he knew they were after him, Crossbows team was killed right
before him and before they got to Crossbow he drops a flashbang then uses a throwing
boot knife to kill the elite holding him, Crossbow manages to kill three of the
10 elites present before he was struck down and his right leg was amputated by
an energy sword, Truth tells the elite to spare Crossbow as Truth sees the moment
to use Cross as a messenger, Truth said that Your destruction is the will of
our gods and we are their instrument. After the covi’s leave Crossbow uses his
sniper rifle to limp is way to safety and call for help, after this he became a
Spartan; the first of the Spartan 4’s. Since then he has been haunted by is past
M0dbot: Want a flat color helmet like this? shoot me a message
Hello my lovely blogger. I was wondering if I could request a drabble with my dear captain rex? I'm completely suffocating from work, doing my final and moving and I'm a desperate little stress ball. Please? Here some cake for you 🍰🍀🌷🌹🌸🌼🌻🌺
(Bruh I’m so sorry things are rough right now :( Hope this helps, lovely one!)
“Dammit, general,” you mutter under your breath, panting as you run through the halls of the Resolute. “I’m a mechanic, not a messenger!”
But one does what one must, especially in a war. Especially when comms are down. General Kenobi says the message is vitally important, and has to get to General Skywalker as soon as possible. Only problem? He’s on the other freaking side of the ship. Great. This is exactly what you signed up for as a civilian contractor.
You skid around a corner, nearly knocking into a few clones in white armor. “Careful!” one of them scolds, and you shoot an apologetic smile over your shoulder.
“Sorry!” you call. “Got a message, need to run.”
They’re all wearing helmets, so you can’t really see the eyeroll, but the way the one in the lead tosses his head tells you exactly what he thinks. Whoops, you think, trying not to cringe. You keep moving forward, still looking over your shoulder and -
“Oof!” You slam into what feels like a permacrete wall, and stumble backward to land on your rear. Squinting up in confusion, all you see at first is a set of white armor with blue accents. He’s got Jaig eyes on his helmet and a blue pauldron coming off one shoulder. “Uh….hey,” you say lamely.
“Oh! I’m so sorry,” he says, pulling off his helmet and crouching down to offer you his hand. His hair is a blonde fuzz and his brown eyes are warm and full of concern. “Here, let me help you up.”
Still rather dazed, you take his gloved hand and get to your feet. “Sorry about that,” you mutter, embarrassed. “Wasn’t looking where I was going.”
“Oh, it was my fault,” he says, brushing off your apology. “Now, where were you headed in such a hurry?”
“Comms are down,” you say with a grimace. “Gotta take a message from one Jedi to another. Speaking of which, you wouldn’t happen to know where General Skywalker is, would you?”
Before you finish speaking, his face has broken into a grin, and he shakes his head wryly. “You are very, very lost,” he informs you. “Here, follow me. I’m his captain, and I’m on my way to the bridge anyway.”
Despite your earlier embarrassment - or perhaps because of it - your stomach flutters, and you feel your face heating up. “Th-thank you!” you stammer. “Apparently it’s an important message or something.”
“Well, we’d best get there quickly, then.” With a sparkling-eyed smile he offers you his arm. “Shall we?”
Why does this feel like a date suddenly? you wonder, but take his arm anyway. “Thank you for your help, Captain,” you murmur, starting off down the hall with him.
He turns to you, and winks one brown eye. “Call me Rex.”