you should tell a reporter at a jewish news outlet about what happened at your university
Anon, I love your spirit and the optimism here, but I'm not looking to get my ass booted out of the university, nor am I looking for a lawsuit. I already have these incidents on my disciplinary record and it might prevent me from studying abroad, which is my ticket out of the hellhole that is the United States for me. If I said shit, I'd get hit. There is no scenario in which this ends well for me.
I used to think that if I just spoke up, if people knew the facts, they would do something. I was a child then. I am not a child now. The university would deny everything. The people around me would go, "oh, another Jew with a victim complex". It would only damage my life and improve exactly zero other people's in the process.
This bad boy was started on the third of November, and finished on the seventh. In total, there are thirty panels (all of which were drawn separately).
A good chunk of N's dialogue near the end came to me after I did some improv to figure out what he should say. I have since dubbed it "N's Failure Monologue."
Sometimes I think about Urianger's role in and feelings on the Thancred-Ryne dynamic and I think watching it kills him a bit inside. For several reasons.
Like, to begin with there's the guilt he's been carrying with him since he ushered Minfilia to the first, how he effectively killed the person Thancred cared about the most in the world and who's "death" ended up causing Ryne's entire Situation. He looks at what's happening between them and can only think "I caused this" even though that's not really true. No one person is responsible for this outcome, it's a culmination of several circumstances and the consequences of them. Logically, Urianger knows this. But it doesn't matter, because his guilt is overpowering his logic.
And also, like. What Thancred is doing here, the way he's knowingly letting Ryne be and stay hurt because he literally cannot bring himself to tell her his feelings, is the exact same mistake Urianger made with Moenbryda. Of course, the circumstances are vastly different, and the potential consequences to Thancred telling Ryne the wrong things or her misinterperating it is far greater (being a matter of literal life or death), it's still the same sort of paralysis they are trapped in.
And he knows it. He sees it. But he can't say or do anything about it, he doesn't have the right to. He acknowledges the mistake, but he hasn't really improved upon it yet. He still doesn't voice his thoughts and feelings as he should. He's also non-confrontational by nature, he doesn't argue or try to change peoples minds, he probably doesn't think he has any place to.
So, he tries to help in what little ways he can. Because he doesn't want it to become Monebryda again, he doesn't want to know he stole not one but two people from Thancred. So he does what he can. He tells Ryne little tidbits about Thancred, things that help her understand him but are safe to share. Nothing too deep, nothing too personal. Just small things, things that are purely factual, because he can't afford to give her a false image of who Thancred is. He teacher her fun and interesting things, because Thancred isn't in the mindset to provide her with non-essential skills.
I like to think Urianger has brought it up with Thancred at least once, during one of his stays. But nothing would've come of it. Not really. Unlike Y'shtola, Urianger isn't pushy, he'll bring it up once or twice and when he sees this won't go anywhere, he gives up. He wants to help, but he knows that persistance only does do much, and he is not the person who has the resiliance needed to push and push until Thancred finally budges (because he won't budge, it won't help anything but to sour things further by adding aditional stress to an already strained dynamic).
And like. Urianger gets it. He gets it because he's been the same way- not saying what he should to someone he loves more than anything else because she was meant to figure her life out herself, and 'steering' her in any direction by telling her his feelings (regardless of if the 'steering' is intention or not) will go against that. He gets it. He gets it and it's all the more painful for it. He knows it can't just be fixed by acknowledging it or with encouragement, something needs to happen to break the stasis.
I think this is probably why he stayed behind while they went off to Nabaath Areng. This is the very last chance they have to say what they want to, and he can't afford to be the anchor anymore. This is about them, not him, he can't let their resolution be buffed by his presence, so he stays behind. Which was probably for the best. Ryne got nervous when Urianger said he's staying behind, probably not too excited about being alone with Thancred (well, not alone, but WoL doesn't count) so soon after she had ran away crying. But she needs to be nervous. For anything positive to come out of this Thancred and Ryne both can't afford to be too relaxed. As sad as it is, the stress is necessary for anything to happen. He knows it. Does he like it? Absolutely not, but nor does he like his other plots. At least no one dies this time if it goes right.
something about childhood in succession.. the way it casts its shadow over the entire narrative, the rotten root of the roy siblings’s pain, all wrapped up in Logan’s power and abuse and love. The opening credits are filled with images of them as kids, beginning every. single. episode. by emphasizing the importance of their childhood: the siblings posing for a photo, playing sports, standing on a manicured lawn, riding an elephant, etc. and then the shots of logan, in which he is always shown from behind, or far away. It is a childhood the viewer never gets to see in any other context, since there are no flashbacks in the show, and therefore as integral as it seems, we know almost nothing about it. What exactly happened? What are the details? We feel its presence, we can tell how it informs their relationships, we can put together the pieces of incomplete and contradictory memories expressed through dialogue, and if we trace their struggles and dysfunction back far enough we know it leads there, to when they were kids. But there is so much empty space we can’t fill in. It’s almost like their childhood is presented in that horror technique where you never get to see the monster clearly straight on. It’s always in darkness, and chopped up into close-ups so that the viewer’s imagination is forced to invent something, however vague, and that is far scarier than it would be if we could actually see it — a monster that is terrifying BECAUSE it’s unknown. The roy siblings’s childhood is a major force behind so much that happens on screen, but what specifically occurred is out of the reach of our understanding. We are shown the monster’s shadow but not the monster, we are shown the frightened faces of the characters as they look at something behind the camera we never get to see, we are shown the running or the fighting or the blood but never the true, bigger-picture, clear details of the horror itself
thinking about how its implied that Paul WILL eventually ecologically destroy dune. how in his quest to bring them "paradise" he will destroy their way of living. the way my heart sunk whenever it was mentioned. the way we see how badly water effects the worms
'All Dead Girl Shows begin with the discovery of the murdered body of a young woman. The series’ lead characters are attempting to solve the (often impossibly complicated) mystery of who killed her. As such, the Dead Girl is not a “character” in the show, but rather, the memory of her is.'
I want to make a longer post about this someday but: I think Arya's TWOW arc is going to include her coming to terms with her identity as a Lady. This has been an ongoing conflict with her since her first chapter and I think her flowering in winds is going to mark a turning point. The theory of her having an apprenticeship with the courtesans holds a lot of weight and the idea of Arya going through puberty among a group of unconventional women she's fostered a positive relationship with is just too perfect. It would really have an impact on Arya reconciling her personal idea of what a Lady should be. There's also a lot that she could learn from them in terms of courtesies, communication, appearances, body-language, etc. that would elevate her current skill-set and ways her relationship with them could push the plot.
Not to mention she will undoubtedly reclaim her identity as Arya Stark, and her being a Lady is inseparable from that. Arya Stark is a Lady Stark and being a Lady is a social position, not a measure of how well someone preforms feminine tasks. She shouldn't have to relinquish her position because she doesn't fit patriarchal standards. That's not to say that she's ever going to be the perfect example of a traditional Lady but what I think will happen is that she becomes capable of playing the part. She plays several identities throughout the series but she's always been Arya underneath, so I think it's appropriate that she learns to adopt a "persona" that's part of her. Her remembering Ned putting on his "Lord's face" (+ the various examples of other characters being separate from their ruling persona) makes me think that Arya will be donning her "Lady's face" when she makes a return to Westeros.
"a dude in Texas legally changed his name to "Literally Anyone Else" and he's attempting to run for President against Biden & Trump" [source]
okay, but putting aside the comedic aspect of this, it is concerning the amount of people who are prompted to vote for candidates just because it's funny. I'm not the biggest fan of how his policy about the boarder sounds [Site], but I do implore anyone who is able to vote in the 2024 US election to please research other candidates.
The media is only going to continue pushing the idea it's inevitably going to be Trump vs Biden 2.0 and we have no other options, that we have to vote for Biden again because of Project 2025. Is that whole thing terrifying?
Yeah, fucking absolutely.
But voting for Biden will not solidify our safety from that. Biden is exactly like the rest of them. He always has been. You can't make the lesser of two evils argument when they're both just plain evil.
You cannot say that Biden is even mildly a better choice than Trump when he is currently directly involved in a genocide. That is not some little fucking thing. That in and of itself disqualifies him as a lesser evil. Biden is just as bad as him and he will not save us because he doesn't fucking care.
Cornel West [Site] is an Independent candidate running for President in the 2024 Election. [Policies]
Claudia De la Cruz and Karina Garcia [Site] are running for President and Vice-President as the candidates of the Party for Socialism and Liberation in the 2024 Election. [Policies]
There are options.
There are people trying to change the corrupt foundation our system is built on, but we have to help amplify them because the mainstream media will not.
i've been waiting to answer this until I actually beat the game in my current playthrough because navi is another one of those characters that i think of in like a "set" with several other characters who serve relatively the same thematic purpose; in this case that purpose being the "mother" character, and i wanted to have all the characters in that set fresh in my mind. it's notable that while oot shows us very clear and consistent instances of the ways in which the adults of hyrule fail to protect their children, there ARE several adults who DO go out of their way to both oppose ganondorf and protect and nurture the children under their care. All of these characters are adult women, and all of them explicitly help the children out of some sort of parental responsibility or sense of duty towards them. in this group I include link's late mother, impa, nabooru, and navi.
all 4 mother characters, despite being adults or adult-coded, reject the inaction mentality which characterizes other adults in the game. they become either direct supports or shields to their children from the conflict the world has to offer them, and they are always explicitly punished for their interference--link's mother is killed trying to protect her son, impa's village is burned, nabooru is brainwashed. The mother's fatal flaw is that she will protect her child above all else, even in a world in which children cannot truly be protected. however, with the exception of link's mother, these characters manage to persist even in the face of her punishment, and this is where I think navi becomes the exemplary character.
Navi, after a lifetime of being link's only support system, the only adult in his life he could truly, consistently count on, receives her punishment at the hands of ganondorf--in the final battle, she is pushed out. she is unable to reach her child. she cannot protect him. However, BECAUSE link has grown up with her at his side, he is strong enough to take ganondorf down. and when ganon rises again, navi is there to support link, promising not to leave his side, and the intuitive targeting of that battle (a mechanic which navi is inherently tied to!!) makes it a cinch to win. Navi, and the other mothers we meet, are a reminder to the player that the world doesn't HAVE to be the way it is. Their persistence when punished, their insistence that their children ought to be protected, is a reminder that good adults do exist, and that good adults raise good children. link and zelda are able to win in spite of the adults who refused to help them, but also BECAUSE of the adults who DID. It's a reinforcement of the core theme of oot--that childlike idea that the world SHOULD be good and fair and if it isn't, it should be changed until it is. The mothers of oot are examples of what the world COULD be, reminders that it is possible to grow up without losing hope or growing bitter, and they are examples of the next step for the children they've raised to change the word--to continue fighting even in the face of punishment, to refuse inaction, and to foster that same hope and persistence in the generations to come.