1. Any Calls You Are Seeing For A #DemExit2020 Over Sanders Losing Are Likely Being Amplified By Russian

It’s 20fucking20 and here we are, still writing Barriss meta, apparently.

Tonight it’s lightsaber symbolism, because Anakin is very much fighting Barriss using her own lightsaber, and there’s a lot to unpack there.

On the one hand? This is…perverse. It’s viscerally wrong. It’s made very clear in TCW that lightsabers are powerfully magical weapons–soulbonded, in a sense. Your lightsaber is an extension of your being. “This lightsaber is your life.” The most powerful moments are the ones in which lightsabers willingly change hands. 

Cody handing Obi-Wan his saber is literally him handing him his life back. Barriss and Ahsoka, trapped in a tank under a mountain of rubble. Ahsoka casually hands her lightsaber to Barriss to hold while she works to save them; when Barriss gives up and accepts that no one is coming for them (and this is a running theme–Barriss gives up and accepts her fate, while Ahsoka will never stop fighting for a chance at hope) she lets her own lightsaber fade. But Ahsoka’s she keeps lit, a thin blade of light against the darkness, as she takes her friend’s hand in the one that had previously been keeping her own flame lit so that neither of them will be alone when the end comes.

So let’s…talk about that.

Because there was no saber exchange this time. The first sign to Barriss that something is very wrong is that Anakin walks into her room and casually uses the Force to pick up her lightsaber where it rested on a small altar. He used the Force and immediately took control of her life with that casual movement. Picked it up against her will, to stop her from being able to take it, specifically to limit her options. And then he used it as a weapon against her–

Barriss is furious during that fight, and it’s not just because she’s finally expressing her pent-up rage. Anakin swung a live saber straight at her head at combat speed, in order to test her. If he had been wrong, he could very easily have killed her. With her own lightsaber.

Of course, there’s the flip side of that equation. Yes, Anakin fighting her with her own saber is…obscene. But he was also, this time, completely justified in taking it in the first place. Barriss is the one who set her Jedi lightsaber aside in the first place. Barriss is the one who chose instead to take up Sith blades, stolen by force. When Anakin attacked her, she didn’t use the Force to hold him off, or dodge, or try to take her lightsaber back. No. She reached for the Sith lightsabers she’d taken in order to pull off an elaborate deception to cover her own tracks.

(And spare Ahsoka. The only reason to try to frame Ventress in the first place is to spare Ahsoka, which is why it’s very clear Barriss didn’t intend to frame Ahsoka when she first bombed the Temple. She lost control of the situation, and framing Ventress would solve the clusterfuck she created by trying to solve the wild spiral.)

(But you’ll notice she doesn’t confess or try to come clean. If all that mattered was sparing Ahsoka from the mess Barriss accidentally created for her, if this was about righting a wrong–you’ll notice Barriss does not turn herself in.)

The reason Barriss doesn’t have her own lightsabers is because, well. She decided the Sith blades suited her.

Which is how we got to this scene:

Anakin wielding as a weapon against her the reflection of her own untainted soul.

Having read Dracula all the way through now, every adaptation of the story that puts Mina and Dracula together and frames them as being in love makes me physically ill.

Dracula didn’t love Mina. He assaulted and violated her after doing the same thing to her best friend. She was an object to be coveted and nothing more. How anyone can read that and see a love story baffles and infuriates me.

Jonathan and Mina loved each other. They were willing to condemn themselves to hell just so that the other wouldn’t be alone there. Both of their characters get gutted in so many adaptions to make way for sexy vampire shit, it’s infuriating. Making Mina be in love with her assaulter is fucking rage-inducing.

Gimme an adaptation where Mina loathes this pestilential demon with every fiber of her being. Where she’s just as driven to stamp out this stain upon the world as her husband is. He murdered her friend. He violated her body and soul. He mentally tortured and traumatized her husband. Gimme a Mina with all the fury of Hell behind her.

Nine trying to send a distress signal to any potential other survivor of the Time War. That’s not a good idea.

Inspired (a couple of months ago) by this picture made by this user on DA.

Where do you get your modern war and foreign policy news? Trying to figure out what's happening in with Turkey and Russia from a a strategic point of view but I can only find pieces from the big news outlets bogged down with unrelated politics and iffy knowledge on the subject.

In no particular order:

Foreign Policy, Foreign Affairs, Defense One, The Cipher Brief, Brookings, RAND, Center for New American Security, Brookings, War on the Rocks, The Strategy Bridge, The Diplomat, School of Advanced International Studies, The Soufan Center, Divergent Opinions podcast, among others. Some of those require subscriptions, some do not. You might also want to look for the experts that are employed in places like RAND or Brookings for the AOR you’re interested in.

Thanks for the question, Luke.

SomethingLikeALawyer, Hand of the King

How To Tell If A RWBY Character Is Sharing Their Body With Another Soul

Their reflection fails to reverse when the other soul is talking.

Remember Volume 4? Oscar notices something wrong with himself in the mirror just before Ozpin makes himself known.

Here's Oscar initially looking in the mirror, and not seeing anything wrong:

And here's the exact next shot, directly before Ozpin speaks:

Notice how the pockets on his arm and chest fail to switch sides, to be a reverse image like mirrors project, in the second image, but not the first.

Okay, maybe it was a goof in that second shot. It doesn't prove anything.

Here's some images from The Lost Fable with properly reversed reflections:

And now here's Ozma 2.0, just before and during his host asking him what they're doing:

Notice his lock of hair has failed to reverse in the reflection. It's swept towards his left-hand side in both.

Now, this is not foolproof. Not reversing a reflection is a very simple animation mistake to make, as we can see in Volume 7 Chapter 3:

Though, admittedly, Blake is metaphorically a person with two souls. Beauty and Beast in one person, symbolising the struggle between who she is and the person Adam wanted her to be. So maybe it's not a mistake? After all, she is the person who introduces us to the concept of people with two souls...

So, anyway, why do I bring this up?

Well, a lot of people have been discussing Cinder looking sad in her reflection in this week's episode:

Only, as a post by @witch-of-the-world has pointed out, her reflection has failed to reverse.

Now, this could easily be an animation mistake. Place a transparent model of Cinder behind the glass, fail to reverse-image it, easy mistake to make.

And, I mean, where would Cinder even get a second soul from? It's not like anyone was merging souls with the Fall Maiden powers just as Amber died-

Oh.

Both Salem's forces and even Lionheart have repeatedly said that that Ozpin's reincarnation this time around has been much faster than usual. The process usually takes longer.

So, to answer the question, why does Cinder look sad in her reflection?

And we're what? A year out from the Fall of Beacon, as opposed to Oscar's six months?

And there's just... little things that have left me and others suspicious. Her use of spears at the Attack on Haven, knowing that hurting Weiss would hurt Jaune, bringing up the Destiny line out of nowhere in Volume 6, the sheer amount of parallels between Ozma and Pyrrha (even using the same effect for their final deaths), the fact that Cinder's outfit looks kinda inspired by Pyrrha's...

So, to answer the question, why does Cinder look sad in her reflection?

I think there's a small chance that it wasn't Cinder in that reflection.

Read Along with Quincey Harker - 8th of May

This is a Blood of My Blood reading of Dracula, based on the Bad Ending AU created by @ and @ and others

First Read Along post with context

Blood of My Blood full AU in order

Helpful background reading for this chapter @bluecatwriter 's excellent novella Chapter 22 Indulgence, which has a lot of juicy interactions between Jonathan and Dracula.

This line hits him like a brick thrown at his head. What? Uneasy, unsafe? Things were going so well! What has happened in a single day to make Papa so frightened?

Only the Count, well, what's wrong with that? Father always explains things so well, so there is perfect clarity and no room for argument.

Papa was only shocked that Father didn't cast a reflection. Of course it may have seemed unusual, but there was no need for him to become dramatic.

Father! That's not responsible! So often Mum had repeated to Quincey the importance of being in control. Never act brashly out of anger or fear, she told him. Always be in control, or you will be controlled by others. For Father to lose control like that…

Father must have been frightened. People do all sorts of things when they're frightened, Mum had told him. He must have seen Papa's blood and been scared. After all, Papa's life and blood were always to be protected, and Papa was careless to cut himself like that.

And Father can move rather quickly, and it can be startling if you're not expecting him. Harmless, but maybe a little scary.

And sure, Father had smashed the mirror, but that was just to prevent more misunderstandings.

Very annoying - there. That sounded like the Papa he knew. Reasonable, unflappable. Like when Father was too taken by Papa's charm that he had kissed Papa's neck and shoulder all over and fed himself back to youth. Quincey hadn't liked it, hadn't understood, but then Papa had wryly explained that accidents happen, and Father made it up to him by asking forgiveness and taking him flying.

Just like the stone mentioned, Quincey's heart drops. No. No, he'd almost forgotten the shape of those sharp thoughts in Papa's mind. The memory had been smoothed over by happy family times, of stories and backgammon and fishing. Of Papa flying with Father and then Mum. But reading the fear in Papa's words in the diary, and the image of the falling stone... Quincey remembers.

This diary is revealing a dark and unknown edge to Papa's thoughts, just like those half-remembered nights.

Whether it's rational or not, Papa was scared. And he's thinking about the windows far too much for Quincey's liking.

He is being deceived. Papa is wrong about the castle and the Count.

He got scared and started seeing danger where he was actually safe, that's what it was. After all, what was he actually scared of? No reflection, a damaged castle and a few locked doors? That's nothing, that's just Quincey's childhood. He said he's a prisoner, but he hasn't even asked Father if he can go.

So there were no servants after all. Father was... pretending? Because he was ashamed, or embarrassed. A boyar should not be personally seeing to the needs of his guest, except that Father was personally invested in Papa's needs.

Quincey almost laughs at how Papa writes about the wolves again. What does it mean that Father could control them? He smiles. Only that Father is a powerful protector and knows how to use his power.

The unease that was building in Quincey disappates. It's all perfectly reasonable.

Such a familiar scene! How little Father has changed!

Quincey's eyes glaze over the passage about the battles of long ago, he knows those stories in detail. But Arabian Nights… Father had often told jokes about that story, more than once calling Papa his ‘little Scheherazade’, for all his skill at storytelling.

Quincey shakes his head, clearing the last vestiges of fear and tension from his body. He got so caught up in the vivid writing, the miscommunication that lead to fear, but he knows the end of the story. Soon the fear will give way to Love, and there will be the peace and happiness in Castle Dracula that he knows.

Would that there were five of me, one for each child, so I might keep them all safe.

I'm still trying to wrap my mind around Men at Arms.

It's a fantastic book, but it is also so different from Guards! Guards! in tone. And maybe that's where the key is. It's not that the villain of the story is perhaps one of the most proficient killers in all of Discworld (all two and a half of them... D'Eath, Cruces, and The Gonne) and their goal is to actually kill. It's not even that the crimes that the watch are investigating are murder, because even though paid assassinations are legal death and murder are part of the setting. Death is literally a character here, though much more briefly than G!G!. Frankly, I don't even think it's because of the racial allegories.

The tone in Men at Arms is different because the first one to die is a clown. Because Pratchett literally killed the joke (the entire thing and all of its subsets). There's nothing funny about a clown funeral, the dogs are the biggest allegory for racial issues, a gun really is evil, Cuddy literally draws the short straw. It's all literal. Everything is extremely literal. For once, Ankh Morpork isn't a joke. For once, the city feels like a city. And it's the book where Carrot, the most literal character there is, becomes a man (literally and in every sense) and takes his mantle of leadership.

Everything in Men at Arms is literal. Because the villain killed the joke to death and it was the shining moment for Carrot to step up.

There's also an extensive running bit that even the silly construction of the silly, courtesy of Bloody Stupid Johnson, is actually stupid. Within the narrative itself, the book is calling itself out. It is saying that this absurd veneer that we have found ourselves on is just that. This city was built on itself, on its own bones, on the the bones of empires--fueled with the blood of many. The architecture beneath Johnson's flawed works, the aqueducts and sewer systems below the city, are vast and strong and powerful--maybe even beautiful. But they're dangerous. The past is incredibly dangerous. Even Carrot, whose potential is very much rooted in the past of the city, is dangerous. His victory is not one I expected in the moment it came. The line about how you must hope that whoever is looking at you from the other end of their weapon is an evil man... Was harsh and true and honestly a little frightening for a story which also contains a scene where a sentient rock man chucks a dwarf through the skylight of Schrodinger's pork warehouse to save both of their lives.

Perhaps this puts the rest of the book in context as well. Especially the things that made me cringe when I read them. Like everything about Coalface, Angua being included in the story because she was a woman and every book needs at least one (preferably one that can leap over a building or deadlift a draft horse), the high school clique-ificarion of all the guilds, Vimes talkin to the nobles after dinner and almost letting himself believe he could be like that (even though he ends up laying into them with some excellent biting sarcasm), Vetinari not being in control and not realizing it. It's all very real, but real like a real serial killer in real life and not a crime drama. Maybe even real like a normal guy in a costume with their mask off.

Maybe not.

It's not a perfect book (which bites, because G!G! was nearly there), but it remains a very intentional book. I feel like less people have read it than G!G!, and I can see why. It's messier, it's not as funny, there's a lot more allegory and it's a lot more blunt.

But it's still extremely topical (sadly). I retain my opinion that it may be one of the most important books I've ever read. And I'm beginning to understand, finally, why.

For future reference.