I feel it too.

By hoppipolla_tip on twitter |

Courting Demons 

– the lovely @lilithsaur commissioned me to draw her devilish demon couple …please do not steal/edit/delete the caption  my gremlins, imps and goblins will find you 

“After the division, the two parts of man, each desiring his other half, came together, and throwing their arms about one another, entwined in mutual embraces, longing to grow into one. Each of us when separated is always looking for his other half… And the reason is that human nature was originally one and we were a whole, and the desire and pursuit of the whole is called love.” –Plato’s Symposium

This three-part series of meta will cover the following:

PART 1 [LINK]: Carl Jung’s Shadow and brief overview of Anima/Animus as they apply to Kylo/Ben and Rey

PART 2: In-Depth Discussion of Anima/Animus as it applies to Rey and Ben

PART 3 [Coming Soon]: Jungian Archetypal Imagery and Symbolism [Coming Soon] [link will be included later and edited into this post when finished.]

Light and Dark

Yin and Yang

Masculine and Feminine

Water and Fire

Sun and Moon

The Mirror

The Serpent/Twin Serpents

This is Part 2 of the three-part analysis of Jungian archetypal images in The Last Jedi. If you would rather skip the overviews and explanation of Jung’s shadow and Anima/Animus, please see Part 3 [coming soon].

So, what is an anima and an animus, exactly?

In literature, the anima is generally considered the personification of a male protagonist’s inner “feminine” part of the psyche – she represents the emotional, spiritual, intuitive, a vessel/foundation from which to build the creative/procreative, imaginative, sensitive, compassionate, nurturing, vulnerable, and [most importantly] wise. These are the things the “masculine”-inclined mind needs to develop in order to become a whole, balanced person. These are, from a psychological standpoint, what a person who has a more “masculine” [animus-centered] brain would be lacking in.

The animus, conversely, is considered the personification of a female protagonist’s inner “masculine” part of the psyche – he represents the inspirational, rational, powerful, active, romantic, ambitious, scholarly, intellectual, authoritative, and [most importantly] “meaningful” – or that which gives life “meaning” or purpose. These are considered things the “feminine”-inclined mind needs to develop in order to become a whole, balanced person. Again, from a psychological standpoint, this is a way to discover how to balance a person who is less drawn to the concrete [”masculine”] aspects of thinking, and balance out a more intuitive, emotional, abstract way of thinking.

— PEOPLE | Jan 6, 2018

As Star Wars: The Last Jedi continues to reign supreme at the box office nearly a month into its release, one aspect that sparked specific interest from fans are the “Force connection” scenes between Rey (Daisy Ridley) and Kylo Ren (Adam Driver).

In the film, the two adversarial characters forge a telepathic-like connection in which they can inexplicably see and speak to each other, despite being millions of miles away.

Fans of those captivating Force Connection moments between Rey and Kylo Ren will be happy to know that the actors went to great lengths to make those scenes as intriguing as possible — including flying to another country just to be off camera for each other. Director Rian Johnson recently revealed the secrets behind those successful scenes, his thoughts on launching the great romantic tragedy of Star Wars times, and what they might mean for the next installment of the franchise.

“For those force connections, I needed them to talk,” Johnson tells PEOPLE. “And I thought that the hardest thing that Rey could possibly be faced with is being forced to talk to this person that she completely despises. And also the audience, we hate him coming into it. She had to be our proxy and so that’s why in those first few conversations, she is just spitting in his face.”

Johnson says that the key to the actors’ chemistry in those scenes was that they were both physically present on set for each other.

“Every single time we shot one of their sides, the other person was off camera,” he explains. “Even to the point where Adam flew to Ireland just to be off camera for Daisy’s stuff, which was essential because they’re such intimate conversations. And that also meant we had to shoot each of those scenes twice basically, which meant the rehearsal time was really important. And my editor Bob Ducsay did an amazing job then of making it feel kind of seamless after the fact.”

By hoppipolla_tip on twitter |