dreamsp023

Latest Posts by dreamsp023

avelarplosive ~ w + e progress shots

Audio ~ Kori Devereaux

Ethel Cain ~ Dust Bowl (instrumental cover)

Snirius flirting stage. They are really normal

Hyperfixating pt. 3

Requiem (2025)

What do you think father voldemort said to him? and was there a conversation? voldemort even talked to harry about his father.

It's pretty messed up to think that Rowling used such sensitive issues as sexual abuse (in Merope's case towards Tom), orphanhood, or domestic violence (in Snape's case) to define the personalities of characters who are either outright villains or morally questionable. In a way, it feels like she's blaming children and teenagers for not being able to move past their trauma, even though these kids had no psychological support, no healthy role models, no real help of any kind. She's essentially saying that if your family is a mess and you turn out wrong, it's your fault. And the worst part is that a big part of the fandom supports this idea.

It’s a very neoliberal perspective, based entirely on individualism and survival of the fittest. There’s no sense of the importance of community, care, or collective support. I think this is also very Anglo-culture: the idea that, well, some people go through hell and don’t become bad, so if you do, it’s on you. That view is incredibly individualistic, deeply capitalist, rooted in the "self-made millionaire" myth and the "if you're poor, it's because you want to be" mentality.

In other cultures, this way of thinking would be unthinkable—or at least not so normalized—because it's understood that the only path to survival is collective survival. There are relational dynamics with deep collective roots. You see it in Mediterranean culture, in Latin American culture, cultures where it's understood that only the people can save the people, and no one can save themselves alone.

Rowling doesn’t get this. That’s why she builds narratives around the lone hero who must face the villain by himself, the chosen one, all those tropes that end up individualizing the protagonist instead of fostering collective effort. And I also believe that this same mentality is why many of her haters don’t realize they fall into the same patterns of thought as she does, when they blame society’s victims for their own fates, instead of understanding that all of it could have been prevented with a good support system to catch them when they fell.

There is a thing that deeply disturbes me about Severus' behaviour in SWM. He just wrote a very important exam on a subject that we know he loves and deeply cares about. He probably had been diligently preparing for it for a very long time, was anxious and aspiring how all the studious kids usually are. A normal teen behaviour is sharing how you wrote it with your friends – this is exactly what the Marauders do. But Severus approaches no one, talks to no one. Lily is hanging out with her other friends – he isn't invited to spend time with them, nor is he exchanging at least a couple of words with Lily personally. While she clearly has other people to chat with, Severus doesn't talk to any slytherins, not Mulcibier or Avery or anyone else. And he doesn't seek anyone out too, he just settles with reading alone like it's normal. Yes, he is introverted, but even the most introverted person would like to share such an important event with someone close to them.

It's like Severus had absolutely no one in that school who cared enough to hear about his pride and joy of writing the exam well, or his worries on getting something wrong. It's like he didn't even expect anyone to care. It is clear from everything in that scene that he is painfully lonely and largely ostracised, that him and Lily aren't particularly close at that point, and that he doesn't have any "gang" or any good friends in slytherin either.

'the temptation of saint anthony (first series),' ten lithographs by odilon redon; french c. 1888.

I don’t really see Severus Snape as morally grey. I think a lot of people call him that because he can be mean and unpleasant, and they don’t like him, so they assume that must mean his morality is questionable too. But to me, he’s not morally grey—he’s just a polarizing character. People either really connect with him or really can’t stand him, and that makes it feel like he’s complicated in a moral sense, when he’s actually pretty straightforward.

It’s totally fair not to like him. He’s can be cruel, he’s mean and unfair to the students, he holds grudges, and he’s generally just not a nice person. But I don’t think that automatically makes someone morally ambiguous. Those are personality flaws and trauma responses, not moral decisions. When you look at what he actually does—he spends years risking his life as a double agent, protecting Harry, helping Dumbledore’s plan succeed, and ultimately dies for it—it’s really clear what side he’s on.

And yeah, he was a Death Eater at one point. That was absolutely a moral failing. But it was a relatively short part of his life, and he changed. He made a conscious decision to switch sides, and everything we see afterward is him trying to make up for the harm he helped cause. Growth doesn’t make someone morally grey—it shows that they made bad choices, learned from them, and did something about it.

I get why people find him confusing. He’s written as a red herring through most of the series; we’re supposed to doubt him. But that doesn’t mean his morality is actually unclear. Once you see the whole picture, it’s pretty obvious where he stood.

John Nettleship and the roots of Severus Snape

I wrote some of this earlier as a reblog to one of @feelabitfree​ posts, but I feel like more people could be interested in the subject, so I’m putting it in its own post for the general tag.

So this is about John Nettleship, the man who was one of JK Rowling’s inspirations to create the character of Severus Snape.

He was Head of Science at Wyedean School in Sedbury, Gloucestershire, where he taught Chemistry to JK, who began studying at the school in September 1976. Her mother, Anne, worked as a technician in the Science department from 1978. He was often known as “Stinger” by pupils due to his last name being “Nettleship”.

Yes, those are images of Mr. Nettleship in his science lab.

I learned that John, even though he was surprised and mortified at first, later on felt honored for his connection to Severus and wanted it to be remembered. This is all taken from this article, which provides detailed information about… a bit of everything (really), from people who knew him well. There is also this condensed version of it. (And I’d say: do visit the source, there’s a lot of interesting info on other stuff about Snape in there).

John at the time that he taught Rowling was in his thirties, like Snape in the books; whip-thin and (in the words of a former student) “ghostly white”, with swinging curtains of long and often rather greasy black hair, a burning gaze, an intense manner, irregular teeth and a rather large nose, and was often a bit scruffy and unkempt, even though he was always fastidiously clean.

This is John in 1976, 4 weeks after JK started at Wyedean.

He was a lifelong Labour Party activist and he later became a much-re-elected local councillor.

An innovative, inspirational teacher and an advocate of child-centred learning, John cared deeply about teaching and about his students, but when Rowling knew him his first marriage was failing and he was dazed with insomnia, which explains why Snape is so angry and excitable. He also had to compensate for looking about eighteen - and for the children’s mockery of his social clumsiness.

(…) As a child he suffered extreme physical abuse from youths running a Cub Scouts troop. At the school he taught at before Wyedean his colleagues marginalised and bullied him for his outspoken independence, and at both schools he endured Marauder-like verbal and physical attacks from certain students: but at both there were also students who admired and supported him.

(…) He remembered Rowling, who had spent her break-times in the office he shared with her mother, with fond admiration, and became an active fan who conducted Snape-tours while wearing an academic gown, and lectured on likely local inspirations for people and places in the Potterverse.

Photos of John when he was 39 and 41 years old, respectively (second one was cut by himself because he didn’t want the entire world seeing his nipples, but the writer of the article makes a point to stress that he had remarkably thin arms).

John did the Rowling family a great favour, for as Head of Science at Wyedean Comprehensive in Sedbury he hired Anne Rowling, a woman already partially disabled by multiple sclerosis and almost certain to get worse, at a time when no-one else would, and took her on as a Biology lab. assistant. He remembered Anne as a jolly, humorous woman with what she herself called “a dirty great laugh”. He was enormously fond of her and fought the school tooth and nail to get improved disability-access for her: in particular, to have a lavatory installed in the science block so she wouldn’t have to struggle back to the main building several times a day. All that is unambiguously good in Snape, his intelligence, wit and passion for his subject, his showmanship and fluency, his protectiveness of others, his courage, love, loyalty, honesty, dedication and sense of duty, his independence and his moral seriousness, is identifiably derived from John.

There is some discussion in the article about how he believed he probably had Asperger’s Syndrome and so some of his behaviour was actually due to missing social cues and not out of spite and rage as JK maybe interpreted (and wrote Snape’s background in order to explain).

In JK’s drawings of him, Snape often has a stubble and is shown wearing a Dracula-collared cloak which are never described as such in the books, but could be inspired by John and this high-collared hippyish jacket he used to wear.

Also, let me show the Snape fandom this thing his son made because it is adorable and you’ll feel proud:

Now I want to finish this long ass post with this: John also enjoyed singing! And if you’re interested in hearing the original strong baritone voice that inspired our favorite overgrown bat, you can do that right here (there’s also a video on the link).

daisies (1966) 🎀

snape chalk pastel

a few great films that are free on the internet archive

in decent quality too!

here is the archive collection of these films so you can favorite on there/save if desired.

links below

black girl (1966) dir. ousmane sembene

the battle of algiers (1966) dir. gillo pontecorvo

paris, texas (1984) dir. wim wenders

desert hearts (1985) dir. donna deitch

harold and maude (1973) dir. hal ashby

los olvidados (1952) dir. luis bunuel

walkabout (1971) dir. nicolas roag

rope (1948) dir alfred hitchcock

freaks (1932) dir. tod browning

frankenstein (1931) dir. james whale

sunset boulevard (1950) dir billy wilder

fantastic planet (1973) dir. rené laloux

jeanne dielman (1975) dir. chantal akerman

the color of pomegranates (1969) dir. sergei parajanov

all about eve (1950) dir. joseph l. mankiewicz

gilda (1946) dir. charles vidor

the night of the hunter (1950) dir. charles laughton

the invisible man (1931) dir. james whale

COLLECTION of georges méliès shorts

rebecca (1940) dir. alfred hitchcock

brief encounter (1946) dir. david lean

to be or not to be (1942) dir. ernst lubitsch

a place in the sun (1951) dir george stevens

eyes without a face (1960) dir. georges franju

double indeminity (1944) dir. billy wilder

wild strawberries (1957) dir. ingmar bergman

shame (1968) dir. ingmar bergman

through a glass darkly (1961) dir. ingmar bergman

persona (1961) dir. ingmar bergman

winter light (1963) dir. ingmar bergman

the ascent (1977) dir. larisa shepitko

the devil, probably (1977) dir. robert bresson

cleo from 5 to 7 (1962) dir. agnes varda

alien (1979) dir. ridley scott + its sequels

after hours (1985) dir. martin scorsese

halloween (1978) dir. john carpenter

the watermelon woman (1996) dir. cheryl dune

EDIT: part two here + the letterboxd list

Louise Burgeoise

Action Painter, 2011-2014

Kahn + Selesnick                                    

One of my favorite movies <3

FILMS WATCHED IN 2025 LADY BIRD (2017) Dir. Greta Gerwig.

“Peter Pettigrew awoke one morning from uneasy dreams to find himself transformed in his bed into a little rat.”

Sirius and Peter make me believe in karma. The dog and the rat suit them so well. I still don’t understand the connection between James and a stag, but Peter as a rat? Absolutely and the dog fits Sirius perfectly too.

I may not be Hindu, but sometimes it’s hard not to believe that a fly could be the reincarnation of an annoying person who wasted their life nervously wandering around. After flying so many times, maybe its few neurons align with the life of a fly. And doesn’t that remind you of Peter?

I don’t hate him , I actually find him an interesting character , but honestly, the way his Animagus form reflects his personality deserves an essay.

Sirius and Peter make me believe in karma. The dog and the rat suit them so well. I still don’t understand the connection between James and a stag, but Peter as a rat? Absolutely and the dog fits Sirius perfectly too.

I may not be Hindu, but sometimes it’s hard not to believe that a fly could be the reincarnation of an annoying person who wasted their life nervously wandering around. After flying so many times, maybe its few neurons align with the life of a fly. And doesn’t that remind you of Peter?

I don’t hate him , I actually find him an interesting character , but honestly, the way his Animagus form reflects his personality deserves an essay.

Hace tiempo que dejé de investigar sobre el eneagrama, pero algo que tengo claro es que soy un 9. No me puede estar dando un ataque de ansiedad y pensar, “pero por qué estoy teniendo uno si mi vida es tan tranquila” y aunque me digan exactamente los síntomas de la ansiedad y resuenen con mi manera de actuar recientemente, sigo pensando que esto no es algo ajeno a mí. Y aún lo sigo pensando, realmente no sé por qué paja tengo ansiedad jajaja

Hace poco vi una reseña de la película el faro, y en esa reseña analizaba las referencia simbólicas para dotar de la película una visión más “mágica”. Hablaba del infierno, pero un infierno parecido al de Dante, el castigo como trabajo duro. La repetición infinita hasta llevar a la persona a la locura. Más que pintar el infierno como algo profundamente doloroso con castigos con un coste físico elevados e inhumanos, te lo pintaban como un dolor más psicológico e invisible a primera vista. Un dolor aparentemente leve pero, tan repetido que te encaminaba a la locura. Y me sentí identificada, al final, entiendo que este dolor es el que sentimos todos diariamente, pero que sea habitual no quita que sea también dañino y perjudicial.

La inercia es horrible, pero desgraciadamente a veces es un hábito inconsciente, se me hace más fácil ver estas cosas cuando mis problemas están alejados de mí, cuando siento que pertenecen a otra persona, porque si no… minimizo “estos pequeños problemas” hasta que se acumulan. En el momento que están en frente mío sigo creyendo que esos problemas son tontos y que puedo seguir adelante. (Perdón por poner referencias de películas hasta en la sopa, pero el mar es lo único que me tranquiliza y con solo pensar que esa única cosa que me tranquiliza en algún momento me puede dar miedo o ansiedad me vuelve loca, pero esta vez de verdad)

Bueno, me voy a poner a ver H20 y así se me pasa jajaj.

Variety (1983), dir. Bette Gordon

The Dignity of Suffering in Silence: Snape as the Ghost of a Living Man

Severus Snape did not need to die to become a ghost. He already was one. Not in the dramatic sense—with clanking chains or flickering transparency—but in the far more tragic way:

He was present, but unreachable. He moved through the world, but nothing ever touched him back.

Not because he refused it. But because somewhere along the line, he decided he did not deserve to be held.

🕯 What Makes a Ghost?

It isn’t death. It’s what remains unfinished. A ghost is a person who still has something left behind—grief, guilt, longing—and no place to lay it down.

Snape had no grave for what he lost. No funeral for who he could have been. So he kept walking. Teaching. Protecting. Bleeding in silence.

He became a ghost of himself, not because he was weak, but because he had to keep going with no one to grieve him. Not even himself.

🕯 The Cost of Being Unheld

No one held Severus Snape. Not really. He wasn’t touched unless it was violence. He wasn’t spoken to unless it was demand.

He offered no softness because he received none.

And yet—he still gave. Still protected. Still fought for a future that would never welcome him.

He didn’t ask for kindness, because he believed that to do so would be indulgent. And indulgence was for the living.

🕯 He Did Not Haunt Hogwarts. He Haunted Himself.

Snape didn’t linger in the castle’s shadows because he was sinister. He did it because it was the only place where silence matched the volume in his mind.

He wasn’t afraid of the dark. The dark was quiet. The dark didn’t ask questions.

What haunted him was the memory of what he had done. What he failed to undo.

Every corridor was a past echo. Every student a reflection of someone he couldn’t save. He didn’t haunt Hogwarts. He haunted himself.

🕯 Silence Wasn’t Weakness. It Was Power.

He didn’t scream. He didn’t beg. He didn’t unravel in front of anyone.

Not because he couldn’t. Because he wouldn’t.

Snape held himself together out of strategy and survival. Because silence was the one thing Voldemort couldn’t extract, and Dumbledore couldn’t reshape. Because when the world gives you no permission to break, you learn how to endure beautifully.

🕯 The One Who Was Never Laid to Rest

There was no funeral—at least, none that was ever spoken of. No public farewell. Only a war, and then silence.

His portrait hangs at Hogwarts now—but it came later. After the world had rewritten the narrative enough to let him in. And even then, he does not speak from it. Not to us.

Legacy? Perhaps. But it feels uncertain—etched more in hesitation than celebration. His name, his work, his memory... handled like something delicate. Or dangerous. Not erased, but folded away, as if too many feared what it might reveal if honoured too loudly.

Perhaps that’s why he still lingers. Not in ghost-form. Not in frame. But in us.

In the ones who understand silence. Who dress in layers. Who never screamed, but should have.

He does not ask for mourning.

But he deserves to be seen.

He deserves to be laid to rest.

Even if it’s just whispered in quiet posts. Even if it’s just here.

Leonora Carrington (1917-2011), Tarot, Major Arcana.

The Marauders didn't stop bullying Snape after the prank. It actually got worse.

A lot of people are surprised to realize that the scene in Snape's Worst Memory happens after the werewolf prank. When first reading OOTP, people generally assumed that SWM showed escalating tension between the Marauders and Snape that up led to the prank. But in DH, we see Snape and Lily talking about the prank before SWM. This means that the Marauders are still singling Snape out and targeting him after prank. Why?

My theory is that the bullying actually got worse after the prank. Because the only way to hold their friend group together was for the Marauders to double down and rally around blaming Snape for what happened.

Think about it: How did that incident not tear them apart? Sirius not only exposed Lupin's secret – he also attempted to use Lupin as a weapon against Snape, and he could have gotten James killed in the process. That's a huge betrayal.

But Sirius isn't mature enough to take responsibility for it. Lupin isn't self-confident enough to confront Sirius about it. "James would-consider-it-the-height-of-dishonor-to-mistrust-his-friends Potter" isn't going to be the one to lay blame on Sirius or break up the group. But it's too big an issue to ignore. The only way they can get over this is to put it all on Snape. It was just a joke, and Snape is an idiot, and James is a hero.

If you compare the two incidents that the books show us of the Marauders bullying Snape, you can see that totally different dynamics are driving the bullying. This shows how and why the bullying got worse after the prank.

The first bullying incident we see is on the Hogwarts Express, when James and Sirius engage in verbal bullying of Snape, with one small attempt at tripping him up as he leaves. This bullying is a form of bonding for James and Sirius and forms the basis of their friend group. This is an example of bullying driven by Peer Group factors (source), and this sort of bullying is generally done to:

to attain or maintain social power or to elevate their status in their peer group.

to show their allegiance to and fit in with their peer group.

to exclude others from their peer group, to show who is and is not part of the group.

What we're seeing here is that the soon-to-be Marauders are in new environment and they're defining their peer group and establishing social hierarchy, trying to establish their status. The Marauders continue in this pattern of Peer Group bullying throughout their school career, as evidenced by the detention records Snape has Harry transcribe in HBP. The Marauders seem to have thrown out hexes in a scattershot way to establish superiority over other students and look cool. This casual, incidental sort of bullying is likely what Snape experienced for the first several years of school.

But what we see in SWM isn't bullying to maintain Peer Group dynamics. This bullying isn't just flinging a single insult or a clever hex. James and Sirius hunt Snape, they deprive him of his wand and ability to escape the situation, and they repeatedly hex him until Lily (temporarily) stops them. This incident is extremely personal. This is an example of bullying driven by Emotional factors, and this type of bullying is done when the bullies:

have feelings of insecurity and low self-esteem, so they bully to make themselves feel more powerful.

don’t know how to control their emotions, so they take out their feelings on other people.

may not have skills for handling social situations in healthy, positive ways.

What we're seeing here is all the fraying edges of the Marauders' friendship. Sirius has just damaged their group, but he can't apologize or address it without accepting blame, so he has to take his emotions out on Snape. Punishing Snape is a way to exorcise his guilt. And it's actually imperative that he bully Snape into silence, because he is the one who has revealed Lupin's secret to Snape and put them all in jeopardy. Lupin can't confront Sirius about the betrayal of trust, and likewise he can't confront his friends here. Not only does Lupin not have the emotional security for handling this situation, he also can't risk putting himself in front of Snape in this moment, lest Snape scream "Werewolf" instead of "Mudblood." James is here trying to work through his own insecurities – in bullying Snape he is defending his friends, but James is also trying to get Lily's attention. James offers to change his ways if she'll give him a chance, because James needs to reassure himself that he is chivalrous, that he is a hero.

Looking at the way the bullying dynamics change and escalate in those two scenes, I think it’s clear that Lupin’s line, “Snape was a special case. I mean, he never lost an opportunity to curse James so you couldn't really expect James to take that lying down,” is an understatement.

Snape was a special case because he knew Lupin’s secret, which would always make him a potential threat. The Marauders would always take any opportunity they could to reinforce that Snape was powerless to do anything to them. And they’d continue to take out all their emotions about the prank on Snape rather than confronting each other.

El arquetipo de la sombra en Black Swan y Perfect Blue: un análisis desde Jung y el ocultismo

Hace un tiempo hice una reseña sobre Angel’s Egg, una película que me pareció una de las mejores que he visto en el anime desde Perfect Blue. También comenté que Black Swan, otra película que adoro y que se inspira claramente en Perfect Blue, se merece totalmente haber conseguido los derechos porque, sencillamente, es una obra maestra. Desde la actuación de Natalie Portman como Nina, hasta cómo se une el ballet, el vestuario, la música… todo va en armonía mientras la protagonista va perdiendo la cabeza hasta llegar al clímax en el que finalmente se quiebra. Es que, ¿hola? ¿La escena del baile?

Hace poco me topé con un video en YouTube que analiza la película desde un enfoque ocultista, y como loca del ocultismo, obvio, lo tenía que ver. Fue la mejor decisión que tomé. Lo que decía me recordó a una obra de Hilma af Klint, en la que aparecen dos cisnes uno blanco y otro negro, y aunque no la entiendo del todo, puedo decir que no es casualidad usar esos dos cisnes como símbolo. Hay una clara conexión entre esa dualidad y el simbolismo de Black Swan.

Hace un tiempo también vi El lago de los cisnes en directo (una de las mejores experiencias que he tenido). Era la primera vez que lo veía y no conocía la historia en profundidad, aunque me hacía una idea. La historia original ya tiene un enfoque simbólico que roza lo esotérico. Así que no es tanto cosa de Aronofsky que Black Swan tenga esa mirada ocultista: ya estaba presente en el propio ballet desde el inicio.

Como fan absoluta de Satoshi Kon (director de Perfect Blue), puedo decir que sus obras se inspiran muchísimo en Carl Jung. Paprika, por ejemplo, no solo trata sobre los sueños, también explora el inconsciente colectivo, todo a través del pretexto de un aparato que permite soñar de forma lúcida.

Así que, tomando todo esto como referencia, quiero analizar los símbolos y paralelismos narrativos entre Perfect Blue y Black Swan, dos películas que claramente beben de las ideas de Jung, sobre todo en relación con el concepto de la sombra.

Ambas películas usan el color para representar diferentes estados de una psique fracturada por el trauma. Cada color representa una polaridad, dos mitades que se contraponen. A lo largo de la historia, ambas protagonistas se ven forzadas a integrar esas polaridades.

En Black Swan, los colores son el blanco y el negro. En Perfect Blue, el rojo y el azul. Ambas protagonistas inician con uno de esos polos bien integrado. Nina es la candidata perfecta para interpretar al cisne blanco: representa la pureza, la inocencia, el control. No solo es una bailarina impecable, sino que también ha vivido toda su vida restringida, moldeada por las expectativas de su madre para ser la hija perfecta. Mima, en cambio, comienza su historia con una imagen pública pulida, siempre vestida de azul o blanco, símbolo de su rol como idol japonesa: una figura controlada y artificialmente inocente. El rojo, sin embargo, aparece como señal de peligro, de sexualización, de pérdida de esa inocencia.

Ambas viven atrapadas en una identidad impuesta por los demás. Están acostumbradas a obedecer sin cuestionarse, y su vida íntima se convierte, irónicamente, en una extensión de su vida profesional. No tienen libertad. Sus deseos y emociones están subordinados a los de otros, especialmente a sus madres, que en ambas películas son figuras dominantes. Cuando surge una oportunidad para salir de esa zona de confort, no saben cómo afrontarla.

Nina, para interpretar a la protagonista de El lago de los cisnes, debe representar tanto al cisne blanco como al cisne negro. Mima debe abandonar su carrera como idol para adentrarse en el mundo de la actuación, algo totalmente nuevo e incierto para ella. Acepta el cambio solo porque su madre le dijo que era lo mejor. Nunca se pregunta por qué. Solo lo hace.

Ambas son forzadas a madurar e integrar esas polaridades en entornos que no les permiten hacerlo con libertad. El resultado es la fractura de su personalidad. Aparece un alter ego: su sombra. Al principio, solo se manifiesta en reflejos, en espejos, pero a medida que lo ignoran o lo reprimen, la sombra cobra vida propia y empieza a actuar de forma autónoma.

Me gusta cómo esa sombra también se relaciona con su trabajo. En el caso de Nina, el cisne negro no es solo un personaje que debe interpretar, sino una fuerza que se apodera de ella. En Mima, el personaje que representa en una serie de televisión parece comenzar a tomar el control, alimentado por la mirada del público, por sus exigencias, por su juicio. Esa sombra crece a partir de lo que los otros esperan de ellas.

Ambas protagonistas deben, en algún punto, unir esas dos mitades. Y en ambas películas se representa esta integración mediante el color lila: símbolo de lo espiritual, de la transformación, de lo místico. Nina ve este color en su compañera Lily quien representa esa parte suelta, libre, sensual que Nina no puede ser y cuando comienza a alucinar, no ve a su sombra: ve a Lily. En el caso de Mima, el lila aparece al final, cuando por fin recupera el control sobre sí misma.

El desenlace es distinto para cada una. Nina muere, o al menos eso se sugiere, consumida por la perfección que logra alcanzar solo al destruirse. Mima, en cambio, sobrevive, pero no sin antes matar (literal o simbólicamente) a su “madre” simbólica, esa parte de ella que la vigilaba y la controlaba desde la sombra. Y aunque ese acto es brutal, Mima no siente culpa, y la vemos al final firme, presente, consciente de lo que ha hecho.

En conclusión, la muerte, real o simbólica, representa esa sombra que, según Jung, devora cuando no se integra de forma sana. Ambas protagonistas vivieron en entornos que las oprimieron y las impidieron crecer con libertad. Cuando algo detonó esa sombra, ya no hubo marcha atrás. Tuvieron que enfrentarse a ella, integrarla o dejarse consumir. En contextos donde no hay espacio para la integración tranquila, la sombra se convierte en fuego. Y el fuego, si no transforma, destruye.

Soy una persona autista. Normalmente me pongo los cascos incluso cuando estoy con amigos o familiares. Eso me provoca un sentimiento de culpa al pensar si estoy siendo contradictoria: “¿Estoy haciendo esto porque me siento incómoda con mi familia?” La realidad es que no. Mi familia es de las pocas personas con las que me siento a gusto, segura. Con ellos, todos mis fantasmas pasados, todas mis heridas, sienten lo que es el alivio, lo que es el bienestar, lo que es estar tranquila. Ahí sé que no todo es hostil, y que, por lo tanto, no es necesario estar en alerta.

Ahí es cuando pienso que quizás no es una contradicción, que más bien es un acto de supervivencia. Como un puente que une dos necesidades que, a veces, no saben funcionar juntas. Una necesita protegerse, quiere estar a salvo y a gusto, y aunque se encuentre en un lugar seguro, solo sabe actuar de la única manera que ha aprendido: aislándose, permaneciendo en la intimidad, en las sombras. La otra necesita amor, no quiere estar sola y disfruta de la compañía.

La música se vuelve un ritual, un intento de calmar un momento abrumador, una forma de abrir una puerta entreabierta. A veces solo llego a asomarme; no quiero abrirla del todo por el miedo que siento. Algo me susurra y me aconseja. Ese algo me dice que aún no es seguro abrirla por completo. Es una voz que probablemente parte del miedo, una advertencia disfrazada.

Es una lucha constante entre mi necesidad de estar conmigo misma, de intimidad, y mi necesidad de conectar.

Soy tan sensible que, a veces, interactuar con otros se me hace demasiado. Interactuar se vuelve una lucha por ser vista, por pertenecer a los lugares en los que mi cuerpo está, pero no los siento como propios. Es una lucha de identidades, de querer ser vista por alguien verdaderamente, ya ni siquiera sé por quién. Lo busco desesperadamente: puede ser un familiar, un amigo, o quizás solo quiero ser vista por mí misma.

Solo quiero ser vista, y no a través de fragmentos de otras personas. No quiero que mi identidad se forme a partir de cada señal de rechazo que recibo, a veces disfrazadas de comentarios inofensivos, otras veces simples miradas, y en las peores ocasiones, señales claras de que no quieren que forme parte de ese lugar. También está la ansiedad de no saber qué hacer con eso. ¿Qué puedo hacer? Lucho, ¿pero para qué lucho? ¿Qué busco exactamente?

En esos momentos me siento como el monstruo de Frankenstein. Ese monstruo que ni siquiera tiene nombre y que, como un niño pequeño, camina torpemente a la deriva. Una criatura hecha de partes ajenas, incompleta, tan extrañas que hasta a mí misma me cuesta comprenderlas.

Cada rechazo dibuja una nueva identidad. Una identidad creada sin consentimiento, armada con pedazos de otros, que ni siquiera son propios. Una identidad formada por comentarios que resuenan como ecos, por prejuicios que desfiguran partes de mi identidad, por palabras degradantes que hacen daño a mi autoestima. Que se acumulan en capas para construir una narrativa condenada desde el inicio a vagar en busca de pertenencia, amor, comprensión, como si ese fuera su único destino, ser incomprendida desde el principio.

El deseo de buscar una identidad propia se hace presente y no se detendrá hasta que lo consiga

Maybe I'm in my own echo chamber but I'm so glad more people are starting to realise how annoying and absolutely hateful the marauders fandom is and how much damage ATYD did for it AND the Harry Potter fandom in general. When did this fandom turn into a Wolfstar and Jegulus digital shrine? So many interesting characters and stories and opportunities to explore and you choose to regurgitate what a random fic incorrectly tagged as canon complaint says?

I'm not even joking, it has gotten to the point where literal adults with fully functioning brains lack the comprehension abilities to form their own opinions about characters.

I'm not saying that people arent allowed to enjoy non canon compliant work because they absolutely are and I encourage it because that's the whole point of a fandom and fanfics in general but it also goes the other way around when fans start raging at you because you tell them to engage with something outside of ATYD for once and to explore characters beyond somebody else's scope.

It's annoying when you arent allowed to have fun or post a character without somebody bashing you for liking them and redirecting their hatred for a character AT YOU.

For example, ATYD paints Snape as a rich, stuck-up pureblooded fascist creep who deserved to get bullied when its actually the exact opposite and everybody goes along with it.

ITS BORING AND REPETITIVE. It takes away so much fun from a fandom.

Pls ppl. I am begging you to open your minds up a bit and think for yourself instead of regurgitating some rando's opinion in order to fit in.

Also, what's up with critiquing everybody and their mother for not agreeing with your boring ass ship??

I’m not a big fan of Dali's paintings, but the way this man writes and his sketches are much better than his paintings for far. I absolutely love it. I have his tarot and it is a mix between a compilation of his sketches with collages. As a tarot reader, I love doing tarot readings with his cards, inspire me a lot.

Salvador Dalí Snake charmer 1966

Am I the only one who thinks the song "Seven" by Taylor Swift you can perfectly relate it to Severus and Lily's childhood friendship? I've been trying to understand what the song means and why Taylor wrote it to learn more about the song's lyrics.

The phrase that resonates with me the most is this one:

“I've been meaning to tell you

I think your house is haunted

Your dad is always mad and that must be why”

https://www.reddit.com/r/TaylorSwift/s/rk5aT7uN0z

Aunque esta película me guste, me traen malos recuerdos de un compañero que tuve que estaba obsesionado con la memoria y ponía siempre esta película de ejemplo. Que salí de ahí conociendo una muy buena película de animación, pero también salí de ahí con traumas :’)

Esta línea lo ejemplifica muy bien. Enseñanza de esto, no hagáis trabajos con gente que aunque en un principio parezca que tengan una forma de pensar interesante nada garantiza que salgas de ahí bien parado. Pd: también por él conocí la película persona, que es una muy muy buena película, así que tampoco fue tan malo conocerlo.

Blaming Snape for creating Sectumsempra is like blaming a woman for carrying pepper spray in her bag for self-defense after being repeatedly harassed by a specific group of men. Can you really blame a victim for creating a weapon to protect themselves against their tormentors, while at the same time praising the Marauders' ingenuity for creating tools to spy on, stalk, and invade others' privacy purely for fun and bullying?

What kind of ridiculous logic is that?!

I can’t stand another day of my life without saying that Rick Owens, fashion designer, is the most accurate representation of what Snape from the books would look like.

Guys, it's really creapy . This isn't a "looks alike" thing. When I come across photos of this man my first reaction is to think that it’s a super realistic Snape fanart. Lol the way Owens looks like Snape is insane. He's his identical twin brother!!

Why I've never seen anyone saying that?