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inklores · 11 months

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miguel o'hara── a study in security

it's really funny how most of my finals this quarter have me reading so many pieces that relate with the fics i'm writing and the characters i have brainrot over. i'm reading chapter 6 of eva illouz's book, "why love hurts," and the section about how love and security can't always co-exist hit me... because that is exactly how miguel o'hara regulates his life and shapes his influence within the spider-society.

"Security is often seen as incompatible with passion, or even as leading to its demise. But I would argue that this need for “security” and/or for “adventure” is not an invariant constituent of the psyche; or if it is, then security and adventure take on changing shapes in different cultural structures. They are also outcomes of the social organization of the psyche. Security derives from the capacity to control and to predict one’s environment; adventure, by contrast, derives from feeling challenged, either in one’s social identity or in the ways in which one knows how to do things." (Illouz, 219).

rewatching atsv and i notice just how locked and authoritative miguel runs his facility. micromanaged down to the knick-knacks hobie swipes. the differences in lighting and color theory with how miles & the gang associate with different spider-people, being lit in white and warm shades... then we meet miguel and he is in pitch dark with reddish and deep blue undertones. his character design is similar to the spot, where the sketch design is still visible amidst the rendering and coloring. this color palette carries with him and it sucks all his interactions in with it. from berating gwen after miles escapes to watching archival footage of his daughter, it's so deeply rooted that breaking out of that sphere will quite literally destroy what little he already has left and what he managed to preserve.

the man is STRESSED. we see that from his design to his dialogue. he believes he is single-handedly keeping the multiverse together and he expresses it multiple times. he thinks he can't have comfort and duty at the same time, believing that is what it means to be spider-man. it takes away his humor too, pointed out by peter b. when he says all spider-men are supposed to be funny. the only time he really shows any sort of wit is when he interacts with lyla and maybe jess, but even then, it's so dry and sarcastic. (save his interaction with baby mayday bc that man is also a father.)

but he's "okay" with this great responsibility. this is his security because it's what he's able to control when once, he wasn't able to control anything and it left him so badly wounded that it isolated any possibility of change or evolution for the order of things. when miles left, he shouted, "ALL HE HAD TO DO WAS LISTEN!" and then a softer, almost baffled and frustrated, "why didn't he listen...?"

illouz talks about how visual stimulations or even the presence of something we can hear or see can shape or crush the way we look at ourselves.

Research on the impact of media images on how individuals perceive their bodies suggests that images of perfect bodies have negative effects on self-esteem and self-concept because watching these images suggests to people both that others can achieve them more easily (competitiveness) and that others view them as important (normative legitimacy). Media images thus become a source of disappointment through the implicit mediation of what we think they say about others’ expectations of us and about their achievements compared to ours. Widespread images of love may instill ideas that others achieve love when we do not, and that achieving love is normatively important for successful life. (Illouz, 220).

hobie mentioned it before we officially meet miguel. he says miles seemingly has it alright with his parents and stable family life. and someone like miguel, who keeps a watchful eye over everything that goes on with spidermen, knows that. and he's jealous of it, i would argue. he believes as spider-man, there is a required sacrifice or weight of loss to carry.

while it is a very recurring trope with every iteration of spider-man that's been watched or read, miles has felt loss and loneliness. but he hasn't felt it in the way miguel has because what miguel went through is so singular and unique to him. the only ones who may understand what that would feel like would be gwen or even pav, seeing their dimension and/or livelihood beginning to crumble.

but miles has everything... and is also spider-man and i just know that burns miguel. it's not what he believes should be the order of the "spider-man journey," even though happiness and responsibility can and has worked together. example, peter b. and his daughter.

it's inconceivable for miguel to think something or someone can deny him or run the other way. because everyone is primed to understand that it's his way or quite literally, the destruction of everything. nobody can suggest another way. nobody can say no. aside from the doomsday vibes, miguel is also objectively scary when he’s genuinely angry. not even irritated or annoyed. irate. he’s also colossal. he’s mr. property damage. this need for control and this ability to maintain it under his thumb fuels his antagonistic relationship with anomalies or things he sees as a threat to his security. he doesn't like to be challenged, he likes to be listened to because he knows how the multiverse works and what can come out of it if even a single spider-person has a foot out of line.

and with all the hints left over at the end of the film of how miguel may be wrong, that there is a way to fix the multiverse while protecting the people they love, there will be some serious fractures to his security and everything will open up once again.

#⁎⋆ ꙳✧∘ gena talks !#miguel ohara #miguel o'hara #spiderman: into the spiderverse #spiderman: across the spiderverse #atsv #across the spiderverse #spiderman 2099

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craetor · 4 months

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Here comes moot~! Thank you for your interest @13eyond13♥️ (tumblr for some reason won't allow editing on even ask drafts so this is what we're doing now)

4 + 1 for Light, Mello, L & Near it is!

(Taking "sad" literal here because the way they deal with stress is sad on its own.)

Near

Near is a quiet angry type. He does his best to not make a fuss and ignore his feelings when he feels hurt, in fear of making either bullying or the general energy in his environment worse if he lets it show. When he's been in a fight he tends to avoid talking it out with the goal of avoiding another frustrating conformation. When he argues he keeps it cool and on topic, thoughtful, trying his best to keep the quarrel pointed and structured to reach a consummate conclusion.

Near's mood is often low. He marinates in his sorrow until he can't take it anymore and then marinates some more. 25 year old Near is lonely with a hard shell built around him. And he's sad. But he doesn't do much about it except trying to distract himself with toys and work. Perhaps he thinks he's not worth the effort to begin with, perhaps is used to it.

Light

Light has evidently learned to keep in his anger until he's alone. I feel like he'd have a squishy or string to spool around his fingers in his pockets to wid down in public situations, since appearances matter to him so much. He's not the type to purposefully neglect his needs if it will affect his image.

When Light is upset, however, he often doesn't realize until it becomes too much. He probably likes a good cry upstairs in his room when the TV is on downstairs. Some part of me also feels like he couldn't help but pity himself in those times, resulting in a head-in-pillow or wrist over eyes dramatic scene.

Mello

Mello is calm and, despite a few fits of explosive rage when he sees himself deeply humiliated, knows how to stay grounded and not loose his wits. I believe he's quite proud of this as well, that is if he even takes notice of it at all, or if it is purely a subconscious restraint he's learned to strap himself into as a part of maturing.

In opposition to Light, for whom sadness is merely a blurry background occurrence, allowed to slowly build up from neglect, Mello's bothers are actively shoved in an overstocked closet with a gritted-teethed 'not now'. He has not learned that not taking care of melancholy on his own terms will result in it bursting free at inopportune times. It's an ever-present battle for him. He's got so much baggage..

L's 'anger' materializes frequently over his sharp tongue. This is more impatience that is easily cured by complaining or taking matters into his own hands. A truly despairing L will start ranting aloud or clench his teeth/put a tight grip on something (less a HC than blatant anaysis). He's never cleared a table but has definitely thought of it.

When L is sad he wallows in things that make him glad. Much like Near he uses work to distract his mind or make him feel like he's affluencial & productive. Of course he uses food, too and enjoys looking out of windows, scenery- or people watching. Sometimes even going to a quiet spot outdoors (a park, rooftop, balcony, a parking lot outside the hotel). Watari is his shoulder to cry on at his own offer. He knows well of L's burden and it's the least he can do to support him in his endeavors.

Thanks for reading, I'm happy to take more of these!

#death note #my writing #character analysis #light yagami #l lawliet #near death note #mello #took “sad” literal here because the way they deal with stress is #sad on it's own

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inkstainedhandswithrings · 1 year

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S2 Ep14 of TBB Thoughts!!

oh frick, oh darn, oh heck

HOWZER HOWZER HOWZER HOWZER HOWZER HOWZER HOWZER HOWZER

I need to stop eating breakfast while I watch these eps, eventually im gonna gasp so hard I'll choke on some food (this is based on me almost choking on my food when HOWZER showed up)

So I knew Echo'd be in this one, but I was actually also a 100% Rex would be there too, so I was a little bummed about that? like why would they release Rex's poster now if he isn't gonna be in the ep? and like ik this is a show about the batch, so they wanna show off Echo and I love that for him bc I love Echo but like,,, Rex🥺 yanno?

that being said, Echo and his team infiltrating that ship, fcking GREGOR?? amazing, loving that shit, eating it up

another suicide? this is getting intense. like this season has given us deeply seeded political issues about clone rights, depictions of blood, brainwashing and two suicides?? like??? things are heating up, the writers are getting more real and I actually kinda,,, love that even though its intense

CROSS MY BOY🥺🥺🥺🥺

clone sipping coffee :)

ye :)

me @ howzer:

he knows someone, eh? THAT'LL BE MY MANS TECH :DDDD

ofc he snatched the gun, you rlly coulda seen that one coming dipstick

it struck me as really odd that Crosshair didn't shoot the female doctor. like the rest of the batch and most of the clones use stun guns ALL THE TIME whereas Crosshair has always shot to kill. again, "severe and unyielding", meaning he takes intense action, committing all the way all the while being so stubborn he hardly ever backs down. honestly, him sparing her is some serious character development. he recognised she was being kind to him and he decided that that was enough reason not to hurt her. either that, or he wanted to abuse her kindness later on

he never wanted to get out, he just wanted to warn his brothers, which is AGAIN SO DIFFERENT from the Cross we've gotten to know in these last two seasons. I actually don't think that's growth anymore. that's Crosshair standing by a choice that he knew was bad for far too long (SEVERE. AND. UNYIELDING.) and now finally admitting he was wrong and going back to what he always wanted and always knew to be right.

ALSO I JUST WITNESSED CROSSHAIR MISS A SHOT TWICE LIKE WTH??? THAT'S NEVER HAPPENED BEFORE

partially rebuilt Pabu :)))

Hunter being questioned abt being more than just a soldier lol

like sir, the answer is "I am dad, actually."

TECH AND OMEGA FLYING TOGETHER

CACKLING

HE ADJUSTED HIS GOGGLES TWICE IN LIKE 3 MINUTES

HE LOOKED LIKE HE WAS FEARING FOR HIS LIVE I AM DYING WITH LAUGHTER FCK

"Up. Up! Up, Omega, pull up!" <- im sorry but Tech's always been just,,, so cool in stressful situations, like almost dying, no biggie. falling out of the sky in a storage box and having a heavy object crush your leg, naaahh we got this. fcking staring a Zillo Beast dead in the eye as it growls at you, easy as pie. omega's flying? panic

"The Tech-Turn? really?" "Now that is not what it is called, but I rather like it. I suggest you proceed before I come to my sen-- AAAAAHHHH."

D Y I N G

did Echo only race Omega to torture Tech? yes, why do you ask?

okay listen I love him, but without his kama Echo looks half naked

TECH FCKING STUMBLING OUT THE SHIP I CAN'T

HUGGIES!!!! ECHO AND OMEGA HUGGIES!! :DDDDD

hmmm the summit huh??? interesting

Tech sounded so worried when he called Hunter over??? waaaaaahhh

Hemlock? more like Hemcock (yes I've been waiting a while to make that joke leave me alone)

YES CROSS IS WARNING YOU. NO HUNTER YOU CAN TRUST HIM GO AFTER HIM GO FIND YOUR BROTHER HE NEEDS YOUR HELP GODDAMN WAAAAAAAAAAAHGGH

Crosshair being offered his freedom and just stubbornly staring back? Severe and unyielding hero edition. I love him, Hunter go get him pls he needs you.

help why did this one feel so short

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sxmmer-cherry · 6 days

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✉️: you have a mail!

A request for:

GLEAM OF AURIC BLAZE ━⁠☆ﾟ⁠.⁠*⁠･ event

⊱ 'CAPTURE ME, UNTIL YOU REMEMBER ME.' —

character: Lyney

description: INTJ. Sign: Cancer. Loves: sleep and also to explore things beyond my field. No: unending social interactions and social gatherings. Will do if needed!! Acknowledge and admires people deeply. Always looks tired. In daze most of the time. Methodical yet can adapt. Prefers to Plan and Organize meetings and occasions. Sarcastic. Considerate. Clumsy. Awkward. Imaginative. Overthinks. If I got stressed, I sleep. ✋🏽

additional/preference: romantic

⊱ LOTUS WHIRLWIND—

character: Albedo

yours truly,

Rhea.

Participant

— Another incoming Telegram: Exchange

———

(I hope you don't mind me participating? And I hopefully didn't missed anything and did it right. Have a good day! 💗💗💗)

GLEAM OF AURIC BLAZE — genshin impact exchange game !

⊱ 'CAPTURE ME, UNTIL YOU REMEMBER ME.' —

a lone gecko speaks to the wind.

it chatters aimlessly; with no reason, wit or charm, simply because he can and the wind is a good artist; finding beauty even in the most hideous of beings and making muses out of them.

in this pleasant moment, lyney presently turns his head with a curious gaze and his lips turn upwards.

it's only a slight shift in his demeanour; blink and you might miss it. but you're not just blinking, you're off on tangents about how abandoned buildings actually serve great purpose to nature and encourage the growth of mosses and ferns.

and he smiles so, because he is both in love and quite amused; 'what a chatterbox', he thinks to himself in a gentle inner voice, harbouring no doubt in his heart.

that he loved you, of course.

an old photograph manages to sneak it's way in your hand as you flip the pages of the photo album. it is slightly torn at the edge, and the whites of its boundary have adopted a soft yellow glow; and a smile sneaks it's way up your lips when you realize what the polaroid is about. it's lyney and yours first 'date',—wherein you stand in the abandoned building. you laugh upon realizing how you hadn't expected an entire garden and a fountain system behind the building; the place where lyney first admitted his love for you.

⊱ LOTUS WHIRLWIND—

[attributes ⋮ weapons ⋮ artifacts ⋮ constellations ⋮ profile]

↺ 𝐀𝐁𝐎𝐔𝐓: 𝐑𝐇𝐄𝐀

she's quite amusing, that's the most casual thing i shall confidently say about her. it's this blend of spontaneity with order that makes her unpredictable, and it often makes me laugh.

regardless, i do address her intelligence. she can imagine things with ease, and concepts are much more easy when they are to be explained to her. in addition, she is observant hence ignorance is far from her.

she's quite pretty too, don't tell anyone i said that, though.

↺ 𝐂𝐇𝐀𝐓: 3𝐃 𝐌𝐎𝐃𝐄𝐋𝐒

what shall i say... sucrose is failing here, i'm afraid. she is excellent, don't mind me—but imaginative excellence is something i expect of somebody else entirely. i'm certain rhea could help me with this—

if only she's free, and willing enough to partake in this project as my assistant, of course.

↺ 𝐂𝐇𝐀𝐓: 𝐋𝐈𝐅𝐄 𝐀𝐍𝐃 𝐀𝐑𝐓

i've always found it curiosity piquing how eerily life resembles art.

for instance, i was just sketching rhea as she sat by the lake in dragonspine the other day. one thing led to another, which led to me painting her hair besotted with soft daisies and eyes holding a summer reminiscent glimmer.

watch her whenever she is exploring flower gardens, and you'll gain insight into what i mean.

↺ 𝐂𝐇𝐀𝐓: 𝐌𝐎𝐍𝐃𝐒𝐓𝐀𝐃𝐓

mond is a beautiful nation—bright and beautiful, true to one's imagination of where fairies might live.

... which reminds me, isn't rhea a native of mond, too? hmmm. very well, seems like the analogy of fairies fits all the better in this case, then.

↺ 𝐂𝐇𝐀𝐓: 𝐀𝐋𝐋𝐄𝐆𝐀𝐓𝐈𝐎𝐍𝐒

... down bad allegations? i'm sorry, but even as a scientist myself, i'm unsure whether i can understand what you mean. mind elaborating on the matter?

or rather, let it be. i shall ask sucrose about it. maybe not her either... if it's something slightly inappropriate, she'll take it to her grave. i'd say kaeya's the best option here then—perfectly shameless, and just as responsive about matters like these.

#↬ gleam of auric blaze

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puphoods · 5 months

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hi!! tell me more abt dahlia cooper and elliot?

omg the sillies

so the basics of their story is theyre in a post-apocalypse zombie setting... its been 5-10 years ish things havent really gotten under control all that much society at large is still very much broken down etc. etc.

cooper dahlia and elliot are three people sharing a large plot of what used to be farmland- dahlia lives in the main house, elliot lives in an old barn reconstructed to be a viable living space before the outbreak and cooper is... also nearby somewhere. its a little out of the way but close enough to a frequently used main route that people will come across them every now and then

cooper is a freak of a man whos sense of morality + justice has been twisted due to a relatively isolated upbringing + violence witnessed during the outbreak + subsequent downfall of society and he now believes he is the only one capable of rational morality. he sees himself as judge jury and executioner and anyone who he deems a bad enough person he kills and- i cant stress enough- feeds to the zombies, as he sees them as no longer being bound to human morality + therefore above it. he has a weird sexual relationship with elliot* + an... obsession with dahlia where he sees her as the only one able to pardon him for his actions

dahlia was a nun sometime before the outbreak and spent the first few years taking in and looking after lost and orphaned children. unfortunately being just one woman she was unable to really protect them and after some unfortunate events they were killed and as a result she has become bitter and hateful towards most other people. she views herself as weak while also believing shes the only one that knows what needs to be done and how to do it and as a result has taken refuge with the others, despite resenting + distrusting them, seeing them as a means to an end. she knows cooper is deeply unwell and knows the way he sees her should not be encouraged but tells herself it has to be done to protect everyone. i dont really have a solid dynamic for elliot and dahlia yet sorryyyy ive never been able to work it out >_< also she has a small vegetable garden + the vegges are used to trade with the others and w other travelers passing through for other things they might need

elliot is a social recluse who had agoraphobic tendencies pre-outbreak and the isolation + constant danger during the outbreak ahs made them extremely paranoid to the point of near delusion. they spent a lot of time traveling with other people for protection, having little to no allegiance with anyone + caring less + less about the actual people they were with as time went on, prioritising only their own life + safety. they eventually took refuge with cooper, but over time has grown to fear + resent him more than the people he kills, and in an attempt to keep themself safe is manipulating cooper to be more rash and less careful about the fights he gets into. cooper is aware he is being pushed into more fights but is unaware its in an attempt to get him killed so elliot can find someone stronger to travel with. they have weird + manipulative sex also. elliot is very handy + helps out with upkeep of the buildings + technology (filtering water etc.) in exchange for the food + protection offered by the others

#et cetera #my ocs #cooper #elliot #dahlia #i dont necessarily have... a plot... for them. just the general outline of who they are and how it would go. sadly not really sure #what i would want to actually happen in a story w them or honsetly i wouldve tried to write it already lol

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religion-is-a-mental-illness · 5 months

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By: Leor Sapir

Published: Nov 13, 2023

Few figures in the medical world generate more controversy than psychiatrist Jack Turban. An assistant professor of child and adolescent psychiatry at the University of California, San Francisco, Turban is one of the leading figures promoting “gender-affirming care” in the United States. He is also regularly criticized for producing deeply flawed research and denying the significant rollback of youth gender transition in Europe.

The American Civil Liberties Union recently retained Turban as an expert witness—paying him $400 per hour—in its legal challenge to Idaho’s Vulnerable Child Protection Act, which restricts access to “gender-affirming” drugs and surgeries to adults only. On October 16, Turban submitted to a seven-hour deposition at the hands of John Ramer, an attorney with the law firm Cooper & Kirk, who is assisting Idaho in the litigation. In the course of the deposition, Turban revealed that, aside from churning out subpar research and misleading the public about scientific findings, he also appears not to grasp basic principles of evidence-based medicine.

Evidence-based medicine (EBM) refers to “the conscientious, explicit, and judicious use of current best evidence in making decisions about the care of individual patients. . . . The practice of evidence-based medicine means integrating individual clinical expertise with the best available external clinical evidence from systematic research.” Because the expert opinion of doctors, even when guided by clinical experience, is vulnerable to bias, EBM “de-emphasizes intuition, unsystematic clinical experience, and pathophysiologic rationale as sufficient grounds for clinical decision making and stresses the examination of evidence from clinical research.” EBM thus represents an effort to make the practice of medicine more scientific, with the expectation that this will lead to better patient outcomes.

Systematic reviews and meta-analyses sit at the top of the hierarchy of evidence in EBM. A key difference between the U.S. and European approaches to pediatric gender medicine is that European countries have changed their clinical guidelines in response to findings from systematic reviews. In the U.S., medical groups have either claimed that a systematic review “is not possible” (the World Professional Association for Transgender Health), relied on systematic reviews but only for narrowly defined health risks and not for benefits (the Endocrine Society), or used less scientifically rigorous “narrative reviews” (the American Academy of Pediatrics). One of the world’s leading experts on EBM has called U.S. medical groups’ treatment recommendations “untrustworthy.”

In the deposition, Ramer asked Turban to explain what systematic reviews are. “[A]ll a systematic review means,” Turban responded, “is that the authors of the reports pre-defined the search terms they used when conducting literature reviews in various databases.” The “primary advantage” of a systematic review, he emphasized, is to function as a sort of reading list for experts in a clinician field. “Generally, if you are in a specific field where you know most of the research papers, the thing that’s most interesting about systematic review is if it identifies a paper that you didn’t already know about.” Ramer showed Turban the EBM pyramid of evidence, which appears in the Cass Review (page 62) of the U.K.’s Gender Identity Development Service. He asked Turban why systematic reviews sit at the top of the pyramid. Turban responded: “Because you’re looking at all of the studies instead of looking at just one.”

Turban’s characterization represents a fundamental misunderstanding of what EBM is and why systematic reviews are the bedrock of trustworthy medical guidelines.

First, even if the only thing that makes a review systematic is that it “pre-defines the search terms,” Turban failed to explain the relevance of this. A major reason systematic reviews rank higher than narrative reviews in EBM’s information hierarchy is that systematic reviews follow a transparent, reproducible methodology. Anyone who applies the same methodology and search criteria to the same body of research should arrive at the same set of conclusions. Narrative reviews don’t use transparent, reproducible methodologies. Their conclusions are consequently more likely to be shaped by the personal biases of their authors, who may, for instance, cherry-pick studies.

To achieve transparency and reproducibility, systematic reviews define in advance the populations, interventions, comparisons, and outcomes of interest (PICO). They search for and filter the available literature with Preferred Reporting Items for Systematic Reviews and Meta-Analyses. Authors register their methodology and search criteria in advance in databases such as PROSPERO. These steps are meant to minimize the risk that authors will change their methodology midway through the process in response to inconvenient findings.

Turban acknowledged that pre-defining the search terms “makes it a little bit easier for another researcher to repeat their search.” However, he did not seem to grasp that the additional steps introduced by systematic reviews are designed to reduce bias and improve accuracy. Turban, one should note, endorses the American Academy of Pediatrics’ 2018 narrative review—a document that, with its severe flaws, perfectly illustrates why EBM prefers systematic to narrative reviews.

Second, Turban is incorrect that the “primary advantage” of the systematic review is to generate a comprehensive reading list for (in this case) gender clinicians. Systematic reviews also assess the quality of evidence from existing studies. In other words, they avoid taking the reported findings of individual studies at face value. This is especially important in gender medicine because so much of the research in this field comes from authors who are professionally, financially, and intellectually invested in the continuation of gender medicine—in other words, who have conflicts of interest. Financial conflicts of interest are typically reported, but professional and intellectual conflicts rarely so. Conflicted researchers frequently exaggerate positive findings, underreport negative findings, use causal language where the data don’t support it, and refrain altogether from studying harms. In short, assessing the quality of evidence is especially important in a field known for its lack of equipoise and scientific rigor.

In EBM, quality of evidence is a technical term that refers to the degree of certainty in the estimate of the effects of a given intervention. The higher the quality, the more confident we can be that a particular intervention is what causes an observed effect. It was only in response to Ramer’s prodding that Turban addressed “the risk of bias associated with primary studies”—namely, one of the key considerations for assessing quality of evidence.

During the deposition, Ramer read Turban excerpts from Users’ Guides to the Medical Literature, a highly regarded textbook of EBM published by the American Medical Association. Ramer asked Turban to explain what the Users’ Guides means when it says that narrative reviews, unlike systematic reviews, “do not include systematic assessments of the risk of bias associated with primary studies and do not provide quantitative best estimates or rate the confidence in these estimates.” Turban responded that systematic reviews do sometimes assess the quality of evidence, but that this is not a necessary condition for a review to be called systematic.

I asked Gordon Guyatt, professor of health research methods, evidence, and impact at McMaster University, what he thought of Turban’s answer. Guyatt is widely regarded as a founder of the field of EBM and is the primary author of Users’ Guides. “The primary advantage of a systematic review,” Guyatt assured me, “is not only not missing studies, but also assessing quality of the evidence. Anybody who doesn’t recognize that a crucial part of a systematic review is judging the quality or certainty of the evidence does not understand what it’s all about.”

Ramer asked Turban to explain the GRADE method (Grading of Recommendations Assessment, Development and Evaluations), a standardized EBM framework for evaluating quality. “GRADE generally involves looking at the research literature,” Turban explained. “And then there’s some subjectivity to it, but they provide you with general guidelines about how you would—like, great level of confidence in the research itself. Then there’s a—and then each of those get GRADE scores. I think it’s something like low, very low, high, very high. I could be wrong about the exact names of the categories.” Turban is indeed wrong: the categories are high, moderate, low, and very low. It’s surprising that someone involved in the debate over gender-medicine research for several years, and who understands that questions of GRADE and of quality are central, doesn’t know this by heart.

Ramer asked Turban what method, if any, he uses to assess quality in gender-medicine research. Turban explained that he reads the studies individually and does his own assessment of bias. GRADE is “subjective,” and this subjectivity, Turban said, is one reason that the U.K. systematic reviews rated studies that he commonly cites as “very low” quality. Turban’s thinking seems to be that, because GRADE is “subjective,” it is no better than a gender clinician sitting down with individual studies and deciding whether they are reliable.

I asked Guyatt to comment on Turban’s understanding of systematic reviews and GRADE. “Assessment of quality of evidence,” he told me, “is fundamental to a systematic review. In fact, we have more than once published that it is fundamental to EBM, and is clearly crucial to deciding the treatment recommendation, which is going to differ based on quality of evidence.” Guyatt said that “GRADE’s assessment of quality of the evidence is crucial to anybody’s assessment of quality of evidence. It provides a structured framework. To say that the subjective assessment of a clinician using no formal system is equivalent to the assessment of an expert clinical epidemiologist using a standardized system endorsed by over 110 organizations worldwide shows no respect for, or understanding of, science.”

At one point, Ramer pressed Turban to explain his views on psychotherapy as an alternative to drugs and surgeries. Systematic reviews have rated the studies Turban relies on for his support of puberty blockers and cross-sex hormones “very low” quality in part because these studies are confounded by psychotherapy. Because the kids who were given drugs and improved were also given psychotherapy and the studies lack a proper control group, it is not possible to know which of these interventions caused the improvement.

Turban seemed not to grasp the significance of this fact. If hormonal treatments can be said to cause improvement despite confounding psychotherapy, why can’t psychotherapy be said to cause improvement despite confounding drugs?

The exchange about confounding factors came up in the context of Ramer asking Turban about an article he wrote for Psychology Today. The article, aimed at a popular audience, purports to give an overview of the research that confirms the necessity of “gender-affirming care.” Last year, I published a detailed fact-check of the article, showing how Turban ignores confounding factors, among other problems. Four days later, Psychology Today made a series of corrections to Turban’s article. Some of these corrections were acknowledged in a note; others were done without any acknowledgement. In the deposition, Ramer asked Turban about my critique, to which Turban replied that he “left Psychology Today to do whatever edits they needed to do,” and that, when he later read the edits, he found them “generally reasonable.”

In sum, though Turban says that “there are no evidence-based psychotherapy protocols that effectively treat gender dysphoria itself,” the same studies he cites furnish just as much evidence for psychotherapy as they do for puberty blockers or cross-sex hormones—which is to say “very low” quality evidence.

Other remarkable moments occur in the Turban deposition. For instance, when asked whether he had read the Florida umbrella review (a systematic review of systematic reviews) conducted by EBM experts at McMaster University and published over a year ago, Turban said that he hadn’t because he “didn’t have time.” When I mentioned this confession to Guyatt, he seemed taken aback. How could a clinician who claims expertise in a contested area of medicine not be curious about a systematic review of systematic reviews? “If all systematic reviews come to the same conclusion,” Guyatt told me, “it clearly increases our confidence in that conclusion.” (My conversation with Guyatt dealt exclusively with Turban’s claims and how they stack up against EBM. I did not ask Guyatt about, and he did not opine on, the wisdom of state laws restricting access to “gender-affirming care.”)

I believe that Turban is being honest when he says he didn’t read the Florida umbrella review. He doesn’t seem interested in literature that might call his beliefs into question. He has staked his personal and professional reputation on a risky and invasive protocol before the appearance of any credible evidence of its superiority to less risky alternatives. Turban regularly maligns as bigoted and unscientific anyone who disagrees with him. Some gender clinicians in Europe now admit that the evidence is weak, the risks serious, and the protocol still experimental. Turban, however, would seemingly rather go down with the sinking ship than admit that he was too hasty in promoting “gender-affirming care.”

Put another way, Turban has intellectual, professional, and financial conflicts of interest that prejudice his judgment on how best to treat youth experiencing issues with their bodies or sex. European health authorities are aware of this problem; that’s why they chose to commission their evidence reviews from clinicians and researchers not directly involved in gender medicine. For instance, England’s National Health Service appointed physician Hilary Cass to chair the Policy Working Group that would lead the investigation of its Gender Identity Development Service and its systematic reviews. The NHS explained that there was “evident polarization among clinical professionals,” and Cass was “asked to chair the group as a senior clinician with no prior involvement or fixed views in this area.”

Unfortunately, in the U.S., personal investment in gender medicine is often seen as a benefit rather than a liability. James Cantor, a psychologist who testifies in lawsuits over state age restrictions, emphasizes the difference between the expertise of clinicians and that of scientists. The clinician’s expertise “regards applying general principles to the care of an individual patient and the unique features of that case.” The scientist’s expertise “is the reverse, accumulating information about many individual cases and identifying the generalizable principles that may be applied to all cases.” Cantor writes:

In legal matters, the most familiar situation pertains to whether a given clinician correctly employed relevant clinical standards. Often, it is other clinicians who practice in that field who will be best equipped to speak to that question. When it is the clinical standards that are themselves in question, however, it is the experts in the assessment of scientific studies who are the relevant experts.

The point is not that clinicians are never able to exercise scientific judgment. It’s that conflicts of interest for involved clinicians need to be acknowledged and taken seriously when “the clinical standards . . . are themselves in question.” Unfortunately, the American propensity for setting policy through the courts makes that task difficult. Judges intuitively believe that gender clinicians are the experts in gender medicine research. The result is a No True Scotsman argument wherein the more personally invested a clinician is (and the more conflict of interest he has as a result), the more credible he appears.

Last year, a federal judge in Alabama dismissed Cantor’s expert analysis of the research, citing, among other things, the fact that Cantor “had never treated a child or adolescent for gender dysphoria” and “had no personal experience monitoring patients receiving transitioning medications.” Turban’s deposition illustrates why this thinking is misguided. It is precisely gender clinicians who often seem to be least familiar, or at any rate least concerned, with subjecting their “expert” views to rigorous scientific scrutiny. It is precisely these clinicians who are most likely to be swimming in confirmation bias, least interested in the scientific method, and, conveniently, least concerned with evidence-based medicine.

Jack Turban is frequently a star "expert" in so-called "gender affirming care" enquiries. Aside from being a pathological liar, we can now also conclude he's dangerously unqualified.

#Leor Sapir #Jack Turban #Gordon Guyatt #evidence based medicine #gender affirming care #gender affirmation #gender affirming healthcare #dangerously unqualified #gender ideology #queer theory #conflict of interest #confirmation bias #medical scandal #medical malpractice #ideological corruption #gender activism #religion is a mental illness

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eosofspades · 6 months

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Eos.....please share your thoughts on brave :3

my beloved mutual you asked me this so fast ily ily

the bear plot in this movie makes me so conflicted bc there are SO MANY WAYS it could have been used PHENOMENALLY and it is so frustrating for me the directions that they took with it

the direction and set up of the first 25 or so minutes of the film is INSANE (/positive) and there's no way to talk about it without addressing the fact that this story is intrinsically a female one and about the experience of womanhood (and more importantly about how deeply complex mother/daughter relationships are), and the entire movie's setup stresses over and over again that merida and elinor's conflict comes from two opposing views of womanhood and femininity.

while she doesn't want to take part in all that the kingdom expects of the girl that she is, it's very clear that merida still enjoys being a woman. her outfit of choice is a dress, the most iconic marker of her character is her long, flowing hair, and she embraces these things as part of her identity ALONG with her love of physical exercise and combat. the movie even makes a point of showing us that merida actively dislikes the way society has put a masculine coding on these things that she enjoys. during the brawl in the throne room and the archery contest, when all the men are showing off and playing up the macho bravado angle, she just rolls her eyes and looks away; she's completely uninterested and annoyed by it.

elinor, on the other hand, is very much a woman who not only perfectly embodies everything that a woman in this world is supposed to be, but actively ENJOYS filling that role. she's elegant and graceful, and she smiles and talks about her role as queen with pride and joy. and the movie starts out, initially, making sure never to put any judgement on her for this; in fact, she's purposefully positioned by the film as being right to do so. several times we're shown that her poise and grace are what GIVES her the power she has. she walks through the throne room during the brawl and everyone IMMEDIATELY stops fighting and parts to give her space; they're so in awe of her. (there's even a reaction shot here of merida watching this happen as she realizes for the first time that there IS power in her mother's way of life, which sets up the archery contest.)

(there's also something to be said about eldest daughter syndrome and how that plays into this movie and its themes of womanhood as well. granted, this may be more unintentional than the rest, considering that merida and elinor are pretty much the only characters in the movie to have any real depth or arcs at all, but it is very apparent that after a certain age merida was expected to become MatureTM, to "grow up," and start being a perfect model princess. every male character in this movie, even the king, is CONSTANTLY goofing off, acting immature, and breaking things.)

anyways, it's in taking a page out of elinor's book that merida is ABLE to cause that whole archery contest scene in the first place, and she shows what she's actually learning from her mother. she plays clearly within the rules that elinor has set up (only the firstborn may compete, the challenge must be determined by the princess herself, etc.), and she does successfully take control of the situation USING her mother's tactics in order to give herself an opportunity to express herself in the way that she prefers.

this setup is absolutely fantastic. it uses the backdrop of a larger political/societal conflict - the arranged marriage and the clans' history - to explore more personal, intimate themes: the complexities of mother/daughter relationships, communication issues, and self-expression in a world that is determined to fit you into a very specific box. the crux of the plot so far doesn't even really rest upon the competition for the princess's hand - it's about the battle of wits between merida and elinor.

because while merida effectively takes control of the archery competition and does play within the rules, she does so in a way that shows just how much she still has left to learn. by challenging tradition and societal expectations, she also humiliates and antagonizes everyone, which ends up working against her later. and when she's still full of adrenaline and fired up after the contest, she oversteps and ends up tearing the tapestry - which is, subtextually, the symbol of elinor's power, the same way merida's bow is the symbol of her power. the fact that the tapestry is torn and the bow is burned in the same scene is incredibly symbolic, in the same way merida tearing the silk dress so she can shoot is symbolic (literally ripping the symbol of her mother's hold on her life apart at the seams).

and then. the bear plot

i'm putting the rest of this under a cut bc it is so long already and i'm not even halfway through, but this plot is RIDICULOUS, and the way it plays out is so frustrating to watch.

the movie goes through an incredible amount of trouble and so much detail in order to set up and establish this three-way conflict between merida, elinor, and the society they live in, and properly portray the battle of wits and power between merida and elinor as they each try to take control of merida's future. when elinor turns into a bear, absolutely ALL of that is thrown out the window. elinor is disempowered, becomes the subject of slapstick humor, all of those incredible complex themes of their contrasting views of womanhood and existing in this society are totally forgotten, and the entire marriage plot is - quite literally - ignored right up until they get back to the castle. it takes a film that was absolutely FASCINATING, incredibly unique and at a point of maximum intrigue, and immediately subverts all of that as it goes from a story of politics, tradition, and court drama, into, like... this overly-done magical scavenger hunt to undo the spell. in fact, i can almost guarantee that, the moment you realize that elinor has become a bear, before even merida realizes that it's her mother, you ALREADY knew exactly what kind of plot this had turned into, and could already clearly see everything that would happen next in your mind. there's the initial panic and confusion, the escape from the castle with the slapstick humor, the exposition and magical infodumping about the spell, the low bit of them being emotionally distraught, the high bit of them bonding, more magic infodumping as the stakes get higher, etc etc. (if you look at other "person-turns-into-an-animal" films, like Brother Bear, The Princess and the Frog, The Emperor's New Groove, each of them even follows the EXACT plot layout as Brave. there are detail tweaks of course but the formula is the exact same.) by the time they get back to the castle, the narrative is SO far removed from where it had originally been, and elinor is still disempowered, and it can't hit any of the emotional beats, or even the thematic ones that were set up in the beginning of the movie.

like, i cannot overstate what a disservice this plot is to the film. even if it weren't poorly executed at all (i could get into pacing and character arcs but we would be here ALL fucking day), it still completely throws off ANY chance the film had of further exploring the marriage plot in a way it deserved, or even at all. merida and elinor cannot communicate properly, there's no in-between moments or events, and at the end when merida walks into the throne room where all the clans are fighting and puts a stop to the marriage, it comes out of NOWHERE. if the archery contest was merida's first attempt at using her mother's methods, and the throne room speech is the conclusion, there needed to be SOME kind of additional attempt by merida between those two scenes, or at LEAST a scene of her learning more about HOW to do that. the skill she shows comes out of nowhere, and there was absolutely NO build-up to that moment. it feels so odd and forced, and it barely even works at all anyway! merida is literally about to go through with the marriage, and the only reason she DOESN'T is because elinor gets her attention and TELLS her not to do it - which derails the whole message itself, now that it seems like the only reason merida is able to stop the marriage is because now she has her mother's approval. when in the beginning of the film, not only was there SO MUCH SET UP to the contest and merida defying everyone, but NOBODY was on her side, especially her mother. and the whole plot rested upon the fact that merida was ADAMANT about what she wanted and having control over her OWN life, and that she was going to stop the marriage whether she had permission/approval or not.

and the ending is...... the final closing scene is such a godawful case of character derailment. the ending shot shows elinor with her hair down, riding on horseback alongside her daughter, when there was NO REASON for that to be the conclusion to her arc, and, in fact, actively undermines the themes that - and i cannot beat this dead horse enough - were set up in the beginning sequences. elinor never HAD a desire to let her hair loose and go be adventurous or similar to merida; that wasn't the POINT. she ENJOYS her life and who she is, she enjoys the role she plays. her problem wasn't that she was different from merida, it was that she was so determined to make merida stop being different from her. elinor wanted merida to be just like her, and because elinor saw traditional femininity and womanhood as such a good thing, she was blind to the fact that it went against everything merida wanted and stood for, and treated merida as a child simply trying to be rebellious. she couldn't empathize or connect to her daughter because she never LISTENED to her. and the second sunrise scene actively makes me downright angry, because merida says "you've always been there for me," but she HASN'T. merida was right when earlier in the movie she said that the whole marriage was what ELINOR wanted, and that she never bothered to ask what MERIDA wanted, and that she refused to accept that merida wasn't going to be like her. and even disregarding the fumbled character arcs that this ending scene culminates in - between a plot that requires merida to be right about her mother being unfair so that she can rightfully stop the marriage, and a plot that requires merida to be wrong about how she viewed her mother so she can mend the mistake she made - what a dangerous message to send out?? especially for a movie aimed at children, particularly little girls?? the way the scene is set up feels as if it's not the tapestry at all, but rather merida forgiving her mother and admitting that SHE was wrong that saves the day, when, in reality - elinor did not do nearly enough in this story to make their relationship right.

this is what my complaint comes down to most of all. the bear plot is inherently annoying, but ultimately, what it does worst is fundamentally weaken the themes of the mother/daughter relationship between the characters, and the resolution feels completely unearned. if anything, MERIDA is fighting so hard to undo the mistake she made with the spell, that thematically, it comes across as if MERIDA is the one who has to make their relationship better and acknowledge that SHE was the one in the wrong, when she WASN'T. merida stitches back up the tapestry that she tore, but merida's bow is never mentioned again after it was burned - her most prized possession, the item equated in value, emotional and symbolic, to the tapestry, even destroyed IN THE SAME SCENE. but when the bear plot kicks in, merida just has a new bow, and there's never any mention of it again.

in fact, the only real "bonding" scene that merida and elinor have between the beginning and the conclusion is the fishing scene, and that doesn't even COUNT because elinor was a BEAR and couldn't communicate properly.

the route this film should have taken with their relationship should have been that elinor and merida ARE fundamentally different, and that who merida is and what she wants is something that elinor doesn't understand at her core, BUT her love for her daughter goes beyond her ability to understand. she doesn't need to become more like merida, but she DID need to apologize to merida for how she treated her, and loosen the grip she had on her life - explicitly, not just by turning into a version of her daughter.

ultimately, the two plots just don't feel like they belong to the same movie. it comes across like they wanted it to be as if the bear plot quest convinced elinor that the marriage wasn't the right thing to do, but really, that plot had NOTHING to do with it. like i said, there's not even any mention of it while the whole thing happens, which is MOST of the movie!! and like, say what you will about Brother Bear, but by the time the transformation in that movie happened, it had been REALLY set up. the bear plot in Brave comes out of nowhere except for a vague motif of bears a little earlier (Mor'du the Demon Bear being our introduction to the local folklore implies bears are a significant part of it, fergus is the Bear King and prides himself on hunting them and mounting them in the hall, etc). and yeah, the witch is obsessed with them, but that doesn't count as a narrative motif.

earlier in development, there was a version of the story where elinor had created the tapestry while she was still pregnant with merida, and there were certain items woven on the tapestry that were relevant to the wording of the witch's spell, but then they changed the incantation and never moved the tapestry as a plot point. while personally i would have preferred it if the whole bear plot had never actually happened and the movie focused on the marriage trials and maybe an underlying magical plot involving the wisps and the witch, i DO think there are ways it could have been done better than it was. and considering everything with the production of brave, the removal of brenda chapman from the project even though it was HER film, i don't think that the bear plot is INHERENTLY a fault of an idea, but rather, what this movie ended up lacking was a coherent, consistent creative and artistic vision.

i know this ask was in response to a post about what i would do DIFFERENTLY if i got to make the movie, and i DO have SO many thoughts about that, but this post is already so ridiculously long, i think i'm going to make that a different post (i got another ask about this also so i'll answer it there.) but thank you for asking apparently i had even more thoughts about this than i thought i did

also, one last thing: i'm plugging this video essay by eliquorice on youtube for a VERY informative and in-depth analysis of this movie; what it did brilliantly, what it lacked, as well as some good analysis of plot structure, pacing, and character arcs.

#sorry this took me so long to answer i have been SO preoccupied lately #thank you sm for the ask this has been rotating in my brain at warp speed these last few days #ask #mine #brave #pixar brave #rory rambles about movies #long post

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tahyal · 2 years

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💌 hello angel, I hope you are well! how is life treating you?

I was hoping to ask you for some guidance, or just your blatant opinion. I’ve always admired your wisdom, your closeness to spirit and I deeply trust your willingness to answer anything to the best of your ability.

Truthfully I am seeking out other options + opinions on how I can lose weight, healthily. I know you’re well versed in the natural remedies and holistic methods by means of taking care of the body. I am mindful about my eating habits, I work a job in which I am on my feet almost all day, I work out (not as often as I used to, but enough to sate my desire); yet still I’ve gained more weight in the past few months than I’d like to admit. I’ve sought out help from my doctor, who suggests I’m perfectly healthy. I understand that my body will ever be changing and it’s normal to have almost a “second puberty” at my age. But it’s hijacked my happiness and the way that I see myself now is so distorted. I had a similar experience a couple years ago (drastic increase in weight, feeling depressed/anxious. then finally finding the drive to love and sculpt my body.) I wondered that it could be a past lesson, cycling it’s way back to reinforce something in me. This time feels different. I just feel a sort of spiritual or mental block. I want to be able to love my body enough that I can really look at myself and feel healthy, and be able to physically see the changes I’ve made.

sincerely, a woman at her wits’ end 🥺

Hi love! Sorry about this!

This is not a medical diagnosis but it might be Thyroid related. Sometimes our T3 and T4 levels can come up normal but the thyroid might still be under functioning, that is not to its optimal level. So doctors will usually brush it off / not consider it.

This can lead to stubborn weight gain, hair loss, digestive issues, skin issues, stress, anxiety, etc.

Some ways you can support your thyroid :

- Never skip breakfast, when you do you put your body under stress. Always make sure you have at least a fruit and some type of protein

- Don’t drink coffee before meals, always after. Coffee after meals can act as a thyroid booster, you just have to be properly fueled before taking it, and take it with milk/cream and a natural form of sugar

- Eat plenty of fruits

- If you can handle them, eat organ meats such as liver, they’re packed with essential minerals and nutrients - Shellfish as well

- Make sure you properly salt your meals, you need iodine

- Don’t exercise too much, when your body is already depleted/slow to function, you don’t want to further deplete your already scarce resources. Rest and do low impact movements

- Sleep well, the body restores itself at night. Cut out blue light, no screens before bed, and do a few reps of deep belly breathing

- Try to limit grains for a little bit, as well as gluten, those two are quite harsh on the system. Prioritize sourdough breads, and if you’re consuming grains soak and cook them well.

- Spore based probiotics can also be of great help if you tolerate them well, the Youtheory brand one is pretty great

And finally, I highly recommend browsing through Noelle Kovary’s instagram as she has herself recovered from thyroid issues! She gives amazing health advice.

That’s all I can think of right now! I hope it helps, please don’t hesitate to ask more questions.

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laprimera · 1 year

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PERSONALITY INSIGHT

It’s all about the layers. So really it comes down to how well you know her and can see past the fixed demure, business savvy facade.

Surface level - “La Primera, Chairwoman Geeta, top-Champion Geeta” Often considered coming off “ a little strong ”, foreboding or coercive. Her body language is formal but graceful and it’s impossible to read what’s behind her watchful gaze and smile; and trust me she is watching. She gets to the point without being harsh and it’s something about her demanding presence that makes people listen and do what she says without complaint. Refusal or stubborn responses doesn’t elicit any anger or outward annoyance either; she’ll simply cant with “alright then-” and find someone else who can and probably do it better.

Point is there’s a lot of work to do to make things run smoothly and Geeta isn’t going to cater to contrivances when there’s always a work around. People can dislike this, maybe even call it “strong arming” or “demanding” but simply put this effort isn’t for her, it’s for Paldea and even the people grumbling about it.

Intermediate Level - “ Señora Geeta, Champion Geeta, Boss or sometimes just ‘Geeta’ ” Is the woman you see a little more loosely made usually in comfortable settings like the Academy, casual Mesagoza, or with people she’s acquainted with ( teachers, faculty, gym leaders, etc). She’s doing more then just smiling, she’s even laughing gently at passing jokes and waving across the room to say a hello. While her stance is still a little fixed and her shoulders dont relax Geeta is a bit more expressive.

People at this level know her as more passionate, hard-working and very busy rather then pushy or stressful. They see her every day keeping pace with a problem at the Academy and then moving to the opposite end of Paldea to solve a rampaging Tauros herd problem all in a few hours. Heck you can ask for help or a request and she’ll simply make room at that moment to do it; she’s there to help you no matter.

Intimate Level - “ Geeta ” Since she finds close friends, co-hearts or partners calling her “La Primera” or some honorary title otherwise kind of embarrassing. This is most likely the Elite Four, some teachers she considers close, S/Os, and (few) friends that know her deeply. She’s actually not as put together as she looks on the outside. Geeta is flighty, hurried, and has a controlled mess in her personal spaces; often struggling to get to who knows how many tasks on time while making sure to straighten herself out perfectly a step before she appears anywhere public.

Co-hearts know she’s incredibly compassionate and kind; often taking everything as a personal responsibility even at the cost of her well being like rest. All her efforts are humanitarian at heart with Paldea and it’s future at her core. She wants everyone to succeed because she sees so much potential in every person she meets, stating that they all “shine brightly” with talent and all she has to do is work hard and help bring it out.

Geeta is also very afraid of failing. Past events have made her stringent on every right detail in fear that something catastrophic happens because of something she didn’t see coming. Sometimes its more anxiety and doom prophesizing that keeps her up all night working at a problem and maybe making it worse instead of learning to let go and having it come out on its own with some patience.

But her friends and partners have her back and help her relax a little. Here she is warm, full of laughter with soft lidded sparkling eyes and quite empathetic. When times get tough it turns into strong confidence, quick wit, and a stubborn kind of determination. Geeta never gives up on people or a problem if she knows they can be reached somehow.

#headcanon. ･ﾟ ✹#'' im gonna do this real quick to warm up ''#YEAH RIGHT

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antigonewinchester · 2 years

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Dean & Hell, Redux

(Previous posts: Intro post; Dean & Hell, season 4; the Mark & Hell, part 1.)

Before I keep going with the Mark of Cain arc, I want to return back to earlier seasons to talk again about Dean, Hell, and violence. As “Dean enjoying violence” is a major thread that runs through season 9 and 10 and strongly tied to Dean’s time in Hell, I want to put the right frame around this idea. And, as I’ve researched more on the topic, I’ve come to rethink my past perspective.

In my first analysis of Dean in Hell, I really resisted that notion that Dean did or could have enjoyed torturing. Part of my defensiveness was from having seen other meta in fandom that frames Dean as innately violent / vicious in comparison to other characters, as well as some of the show’s own framing around Dean enjoying violence in season 10, and thinking this framing felt off without fully being able to articulate why. Deadendtracks kindly pointed me towards the concept of moral injury as a key aspect in both Dean’s time in Hell and his time hunting, with this idea being central in Dean talking about his enjoyment of both. Viewing Dean’s violence and traumas through this lens ended up being a big missing puzzle piece for me, in terms of what’s going on in the show; how people react to Dean in fandom, including my own defensive reaction; and how all of these ideas combine together over the Mark of Cain arc, for better and worse.

In their meta on the Mark of Cain, “This is What You’re Gonna Become: season 9 as the culmination of Dean Winchester’s thematic roles of identity in SPN,” swayingwires persuasively lays out the case for both Dean’s time hunting and his time in Hell as situations of moral injury, tracing the evolution of these psychological wounds and Dean’s recognition of them through Kripke’s era of the show. I’m going to pull out a few highlights from this essay below, as I want to further support their interpretation by analyzing the language the show uses in talking about these situations for Dean. Then, after briefly looking at how Dean’s moral injuries are referenced in early season 10, I’m going to end this section with a perspective from Jonathan Shay, the researcher who originated the idea of moral injury, on the political significance of trauma narratives.

In their discussion of moral injury, swayingwires cites an article from 2012 in the PTSD Research Quarterly, a publication from the National Center for PTSD, written by Shira Maguen and Brett Litz. In a 2021 article for the National Center, Maguen, as well as Sonya B. Norman, further define moral injury and its co-occurrence with PTSD. The broad framework they lay out fits incredibly well with many aspects of Dean’s characterization and reactions to the events he’s faced:

“In traumatic or unusually stressful circumstances, people may perpetrate, fail to prevent, or witness events that contradict deeply held moral beliefs and expectations (1). When someone does something that goes against their beliefs this is often referred to as an act of commission and when they fail to do something in line with their beliefs that is often referred to as an act of omission. Individuals may also experience betrayal from leadership, others in positions of power or peers that can result in adverse outcomes (2). Moral injury is the distressing psychological, behavioral, social, and sometimes spiritual aftermath of exposure to such events (3). A moral injury can occur in response to acting or witnessing behaviors that go against an individual's values and moral beliefs. In order for moral injury to occur, the individual must feel like a transgression occurred and that they or someone else crossed a line with respect to their moral beliefs. Guilt, shame, disgust and anger are some of the hallmark reactions of moral injury (e.g., 4). Guilt involves feeling distress and remorse regarding the morally injurious event (e.g., "I did something bad."). Shame is when the belief about the event generalizes to the whole self (e.g., "I am bad because of what I did.") (5). Disgust may occur as a response to memories of an act of perpetration, and anger may occur in response to a loss or feeling betrayed (6). Another hallmark reaction to moral injury is an inability to self-forgive, and consequently engaging in self-sabotaging behaviors (e.g., feeling link[sic] you don't deserve to succeed at work or relationships). Moral injury also typically has an impact on an individual's spirituality (7). For example, an individual with moral injury may have difficulty understanding how one's beliefs and relationship with a Higher Power can be true given the horrific event the person experienced, leading to uncertainty about previously held spiritual beliefs.”

Swayingwires lays out the throughline of Dean’s moral injuries through a number of key moments in early seasons. First, there’s Dean expressing that he’s scared of what he’ll do or kill for his family in 1x22, after killing a demon who he knew was possessing a person against their will:

“Threats to the family are supposed to be things, but now Dean is grappling with the idea that some of those things might also be people. Victims, even, like Meg Masters. People who should otherwise be saved. Hence Dean’s internal conflict: Saving People and Hunting Things have crashed up against one another in a way that creates a nascent moral injury deeply tied to both the Save Sammy and Daddy’s Blunt Little Instrument roles and where they overlap.” (”This is What You’re Gonna Become,” Chapter 2).

Then, in 2x03, Dean confronts again that monsters might not be just things but actually people themselves through Lenore and her ‘vegetarian’ vampire family.

“Like he did with the possessed victim Meg Masters, Dean discovers that Lenore and her people – including the vampire he killed at the mill – were the ones in need of saving, and from a hunter. Once again his moral code (Saving People, Hunting Things) rubs up against the reality that those two categories, people and things, are not as easily divided as his father raised him to believe. What if hunting things – something he enjoys – is actually harming people? This moral dilemma isn’t easily brushed off for Dean, even as he continues to operate under his code. Because to give up that equation – Saving People, Hunting Things – is to give up his identity and admit that what his father taught him, how John raised him to play that role of Blunt Instrument, was a betrayal of not only what was right but what was best for Dean himself. So the moral injury continues to fester.” (”This is What You’re Gonna Become,” Chapter 3).

As I mentioned previously, Dr. Jonathan Shay conceptualized the beginnings of moral injury in his book Achilles in Vietnam: Combat Trauma and the Undoing of Moral Character, published in 1994. In it, he compares the story of Achilles in the Iliad to those of real-life Vietnam veterans. While the idea of moral injury has been expanded upon since the 90’s, Shay particularly emphasizes a part of moral injury as a psychological wound that those in leadership inflict on those underneath them: “When a leader destroys the legitimacy of the army’s moral order in betraying “what’s right,” he inflicts manifold injuries on his men” (6). Shay’s idea of “what’s right” is an expansive concept, taking from “the ancient Greek word that Homer used, thémis,” which meant “the whole sweep of a culture’s definition of right and wrong: we use terms such as moral order, convention, normative expectations, ethics, and commonly understood social values” (5). He uses thémis as the broad term for this concept through his book.

When thinking about Dean and his upbringing, an revealing point is how, to demonstrate the gravity of moral injuries, Shay compares the moral relationship between an army and a soldier to that of a parent and child:

“The vulnerable relationship between child and parent is a metaphor for the relationship between a soldier and his army. It is also more than a metaphor when we consider the formation and maintenance of good character. The parent’s betrayal of thémis through incest, abuse, and neglect puts the child in mortal danger… The child’s inner sense of safety in the world emerges from the trustworthiness, reliability, and simple competence of the family. Similarly, the child’s acquisition of self-control, self-esteem, and consideration for others depends upon the family… Lurking behind the supposedly settled truths is the Platonic assertion that good character is a firm wall between a good person and evil acts, regardless of the betrayals of “what’s right” and other blows, such as bereavement, that may simply happen to an adult.” (32).

Dean, raised by his father as a child soldier, is the intertwined embodiment of this metaphor. Through that lens, we can look at John’s last command to Dean – to save Sam or kill him – as an ur-example of John betraying “what is right” and of the moral injuries he inflicted onto Dean through his abusive parenting. This order was John as Dean’s ‘sergeant’, telling a soldier under his command that he might have to kill one of his comrades, and John as Dean’s father, telling his son that he might have to kill his brother, a failure of John as a moral leader multiple times over.

If Dean struggled with the morality of John’s order over season 2, then there was no such ambiguity for him in Hell and with Alastair. Dean knew what Alastair was coercing him to do was wrong and yet eventually did just what Alastair “asked,” even enjoying it.

“Alastair “broke” Dean by forcing a reversion of Dean’s personal philosophy and any sense of identity he held onto – instead of saving people, he tortures them, instead of hunting things, he becomes the thing… Dean blames himself for taking the only way out he was given after 30 years of continual horrific pain and daily destruction of his body “until there was nothing left”: inflict pain on someone else. Exchange the objectification of the tortured with the objectification of becoming someone else’s weapon. Exchange endless physical pain for endless moral injury.” (”This is What You’re Gonna Become,” Chapter 6).

Torturing in and of itself went against Dean’s moral code and would have been enough for a moral injury. Dean also finding relief, catharsis and enjoyment in torturing made that moral wound so much worse.

Swayingwires’s read of Dean’s two major moral injuries as related to hunting on Earth and torturing in Hell can be further supported by looking at the similar wording used by various characters, including Dean himself, to talk about these situations.

In the final scene of 2x03, Dean speaks with Sam about everything that’s happened in this ep:

DEAN What if we killed things that didn't deserve killing? You know? I mean, the way Dad raised us… SAM Dean, after what happened to Mom, Dad did the best he could. DEAN I know he did. But the man wasn't perfect. And the way he raised us, to hate those things; and man, I hate 'em. I do. When I killed that vampire at the mill I didn't even think about it; hell, I even enjoyed it.

Here, Dean speaks his enjoyment of hunting, even killing, and how that conflicts with his newfound understanding that monsters might be people and might need saving, too.

Then there’s Dean’s conversation with Gordon Walker at the beginning of the episode, with Dean opening up to Gordon about his feelings around John’s death. Putting this exchange in the context of moral injury, it’s important to remember that what’s especially weighing on Dean here is John’s last order.

DEAN Sorry about your sister. GORDON Yeah. She was beautiful. I can still see her, you know? The way she was. But hey, that was a long time ago. I mean, your dad. It's gotta be rough. DEAN Yeah. Yeah, you know. He was just one of those guys. Took some terrible beatings, just kept coming. So you're always thinking to yourself, he's indestructible. He'll always be around, nothing can kill my dad. Then just like that [snaps] he's gone. I can't talk about this to Sammy. You know, I gotta keep my game face on. [Clears throat.] But, uh, the truth is I'm not handling it very well. Feel like I have this - GORDON Hole inside you? And it just gets bigger and bigger and darker and darker? Good. You can use it. Keeps you hungry. Trust me. There's plenty out there needs killing, and this'll help you do it. Dean, it's not a crime to need your job.

Part of this “hole” Dean is feeling is grief over his father’s death, as Sam mentions later:

SAM You know, you slap on this big fake smile but I can see right through it. Because I know how you feel, Dean. Dad's dead. And he left a hole, and it hurts so bad you can't take it, but you can't just fill up that hole with whoever you want to. It's an insult to his memory.

But I also see Dean’s conversation with Gordon as deeply connected to his grief around the moral injuries inflicted on him by John. Take Dean talking about his father as indestructible until suddenly he wasn’t. Literally, this comment is Dean reckoning with John’s actual death. But it’s also Dean reckoning with John’s metaphorical death, the loss of John as Dean’s moral guide and role model. If John’s guidance and commands formed a foundation of Dean’s morality, then his last order sent an undeniable crack through that foundation, with Dean now explicitly questioning how his father raised him and how that upbringing shaped his own moral compass.

Gordon naming this emotion as feeling like a “hole” is also revealing in light of his character representing who Dean could later become: after his sister was turned into a vampire, Gordon tracked her down and killed her, just as Dean is possibly facing with Sam. There are perhaps echoes of this in season 10, when Cain says that Dean killing Sam would be “the murder [Dean would] never survive.”

The wording that Dean and Gordon used in 2x03 then returns in season 4, when Dean talks to Sam about Hell at the end of 4x11:

DEAN You know, I felt for those sons of bitches back there. Lifelong torture turns you into something like that. SAM You were in hell, Dean. Look, maybe you did what you did there, but you're not them. They were barely human. DEAN Yeah, you're right. I wasn't like them. I was worse. They were animals, Sam, defending territory. Me? I did it for the sheer pleasure. SAM What? DEAN I enjoyed it, Sam. They took me off the rack, and I tortured souls, and I liked it. All those years, all that pain. Finally getting to deal some out yourself. I didn't care who they put in front of me. Because that pain I felt, it just slipped away. No matter how many people I save, I can't change that. I can't fill this hole. Not ever.

Dean again talks about enjoying hurting others, taking pleasure in it, and echoes Gordon’s words of this act as creating a “hole” inside him that he can’t fill. If Dean is just starting to be aware of and articulate his moral injury in 2x03, then he is acutely, horribly aware of this feeling in 4x11.

We can also see hole-related imagery appearing in season 5, during Famine’s speech to Dean in 5x14, “My Bloody Valentine”:

FAMINE Doesn't take much--hardly a push. Oh, America--all-you-can-eat, all the time. Consume, consume. A swarm of locusts in stretch pants. And yet, you're all still starving because hunger doesn't just come from the body, it also comes from the soul. DEAN It's funny, it doesn't seem to be coming from mine. FAMINE Yes. I noticed that. Have you wondered why that is? How you could even walk in my presence? DEAN Well, I like to think it's because of my strength of character. FAMINE I disagree. [Famine moves closer to Dean and touches him.] Yes. I see. That's one deep, dark nothing you got there, Dean. Can't fill it, can you? Not with food or drink. Not even with sex.

Famine describes what again sounds like a hole, a “deep, dark nothing” that Dean “can’t fill,” echoing the same language from 2x03 and 4x11. Given everything that happened to Dean over seasons 4 and 5, it’s no surprise that he’s still feeling these moral injuries, not having the space, support or time to even start to heal these wounds. And Dean doesn’t get that space or time for healing over the next 5 seasons, either. With the exception of his year with Lisa, he never has the chance to rest, with season after season seeing Dean face more traumas and crises, having to push down his pain to save people, including Sam and Cas, and just to deal with his everyday reality.

Jumping forward to season 10, in their post “The Wounds That Never Heal,” veneredirimmel analyzes Dean’s conversation with Cole at the end of 10x07, “Girls Girls Girls.”

DEAN Cole, hey, right here. We're talking, okay? COLE How can I believe you, huh? How can I believe you?! My whole life, I've been... DEAN I get it. That was your story. Look, man, I got one of those, too. Okay, but those stories that we tell to keep us going? Man, sometimes they blind us. They take us to dark places --the kind of place where I might beat the crap out of a good man just for the fun of it. The people who love me, they pulled me back from that edge. Cole, once you touch that darkness… It never goes away. Now, the truth is… I'm past saving. I know how my story ends. It's at the edge of a blade or the barrel of a gun. So, the question is, is that gonna be today? That gonna be that gun?

Veneredirimmel sees the darkness Dean speaks to as representative of the numerous moral injuries that he’s sustained over the decades, and I very much agree with this read. What Dean is expressing here feels more than just depression or PTSD, both which can be related to but are distinct from moral injury.

I’ve quoted the end of veneredirimmel’s post below, because I think it thoughtfully lays out what the story needed to face if it was going to honestly reckon with Dean and his emotional wounds:

“And there is no easy cure from this wound. Telling Dean that people love him is ignoring the gravity of the wound and dismissing it because that wound is not about love, and it’s not about deserving it or accepting it. Telling Dean that he’s done so much good has the same effect because the good doesn’t erase that deep sense of having betrayed what he deems right. It is not a matter of love and it’s not a self-worth issue nor [is it] about Dean’s flawed sense of self. Those horrors happened: Dean lived them, was in the middle of it so many times we’ve lost count. He cannot shake them off.”

Those horrors happened: for me, while I think the Mark of Cain arc tries and ultimately fails in confronting Dean’s moral wounds, not to mention his decades of traumas, there’s perhaps something to be gained in sorting through the whats, hows and whys of the messy, complicated story we did get.

Understanding my own reactions to this arc has also given me a larger perspective on the importance of how we talk about trauma and listen to traumatic narratives. The argument in my previous post on Dean and Hell essentially boiled down to: Dean is a good person, so he couldn’t really have meant it when he said he enjoyed torturing. Funnily enough, when pulling all my sources together for my bibliography, I realized a similar framing is actually used in-universe by Sam and Cas in talking about Dean and his violence over season 10. It’s not Dean that’s doing all this, it’s just the Mark; Dean can’t really be a bad guy; Dean is (must be) a hero. This claim is the mirror image of the idea of Dean as innately violent or as a character who uniquely enjoys violence unlike Sam, Cas, etc. But these two ideas are actually two sides of the same coin: the denial of trauma.

In Achilles in Vietnam, Shay calls these perspectives the “Law of Forgetting and Denial.” (While I don’t like all the language he uses here, particularly describing non-traumatized people as “normal,” I think the sentiment he’s expressing here is worth quoting with that caveat.)

“We must all strive to be a trustworthy audience for victims of abuse of power. I like to think Aristotle had something like this in mind when he made tragedy the centerpiece of education for citizens in a democracy. However, to do this we must overcome all the good reasons why normal adults do not want to hear trauma narratives. If forced to bear them, normal people deny their truth. If forced to accept them as true, they often forget them. Taken together, I call these good reasons the law of forgetting and denial. THE LAW OF FORGETTING AND DENIAL The social morality of “what’s right,” what Homer called thémis, is the normal adult’s cloak of safety. The trauma narrative of every person with PTSD and character damage is a challenge to the rightness of the social order, to the trustworthiness of thémis. To hear and believe is to feel unsafe. It is to know the fragility of goodness. Trauma narratives show us that our own good character is vulnerable to destruction by bad moral luck. Normal adults recognize the actual power deployments in their own society. To repeat what one has heard from a “loser,” from “damaged goods” – and this is how trauma survivors are often stigmatized – is to risk marginalization, reprisal, or being tainted by the same low status as the trauma survivor. Just as trauma testimony is always a political act, retelling trauma narratives is like-wise political. Judith Lewis Herman has persuasively connected the capacity to hear, believe, and retell with a supportive social movement.” (193)

We can see aspects of this “law” play out over seasons 9 and 10, in what the narrative denies, what it forgets, and how it frames Dean over this arc. But even if the story and the writers want to forget, that doesn’t mean we as the audience have to do the same.

Sources

“10.07 Girls, Girls, Girls (transcript).” Supernatural Wiki: A Supernatural Canon & Fanon Resource. 2nd Mar 2015.

“10.14 The Executioner's Song (transcript).” Supernatural Wiki: A Supernatural Canon & Fanon Resource. 26th Nov 2021.

“4.11 Family Remains (transcript).” Supernatural Wiki: A Supernatural Canon & Fanon Resource. 21nd Nov 2012.

“5.14 My Bloody Valentine (transcript).” Supernatural Wiki: A Supernatural Canon & Fanon Resource. 2nd Sept 2014.

gelasius. “2.03 Bloodlust (transcript).” Supernatural Wiki: A Supernatural Canon & Fanon Resource. 13th Oct 2006.

Maguen, Shira Ph.D. and Litz, Brett Ph.D. “Moral Injury in Veterans of War.” PTSD Research Quarterly, Vol 23, No. 1, 2012, pp 1 – 6.

Norman, Sonya B. and Maguen, Shira. “Moral Injury.” U.S. Department of Veterans Affairs, 26 July 26 2021.

orangemoonchild. “Untitled” (Whitewashing of Sam & Cas’s actions). Tumblr, 24th Apr 2014.

Shay, Jonathan. Achilles in Vietnam: Combat Trauma and the Undoing of Character. New York, Scribner, 1994

swayingwires. “This is What You’re Gonna Become: season 9 as the culmination of Dean Winchester’s thematic roles of identity in SPN.” AO3, July 14th, 2017.

veneredirimmel. “The Wounds That Never Heal.” Tumblr, 24th Nov 2014.

#meta #meta personal #dean #dean & the mark #the fun (?) thing abt posting meta as i go is that ppl get to see my rethinking & reworking in real time

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meaganjimboomba · 14 days

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Inside Jimboomba's Real Estate Renaissance: Meet the Agents Transforming the Market

In the heart of Queensland lies a hidden gem for real estate enthusiasts - Jimboomba. Nestled amidst scenic landscapes and offering a tranquil lifestyle, Jimboomba is witnessing a real estate renaissance, thanks to the dedicated efforts of Real Estate Agents Jimboomba. Let's take a closer look at how these agents are transforming the market and shaping the future of this charming locale.

A Growing Demand

Jimboomba's appeal lies in its blend of rural serenity and modern conveniences. With its proximity to major cities like Brisbane and the Gold Coast, more people are seeking a slice of Jimboomba's idyllic lifestyle. This surge in demand has created opportunities for Real Estate Agents Jimboomba to showcase the region's diverse range of properties, from spacious acreages to cozy suburban homes.

Expertise in Local Market Trends

Navigating the real estate market in Jimboomba requires a deep understanding of local trends and dynamics. Real Estate Agents Jimboomba possess invaluable insights into the area's property market, allowing them to provide informed guidance to both buyers and sellers. Whether you're a first-time homebuyer or a seasoned investor, these agents leverage their expertise to ensure a seamless experience throughout the transaction process.

Tailored Marketing Strategies

Standing out in a competitive market requires innovative marketing strategies tailored to the unique characteristics of Jimboomba. Real Estate Agents Jimboomba excel in crafting compelling marketing campaigns that highlight the distinct features of each property. From professional photography and virtual tours to targeted online advertising, these agents leverage a diverse range of tools to maximize exposure and attract potential buyers.

Personalized Service

In the world of real estate, personalized service can make all the difference. Real Estate Agents Jimboomba prioritize building strong relationships with their clients, taking the time to understand their needs and preferences. Whether you're buying or selling, these agents are dedicated to providing attentive support every step of the way, ensuring a stress-free experience and successful outcomes.

Community Engagement

Beyond buying and selling properties, Real Estate Agents Jimboomba are deeply invested in the local community. Actively involved in community events and initiatives, these agents contribute to the vibrant fabric of Jimboomba's social landscape. By fostering connections and supporting local causes, they not only strengthen ties within the community but also enhance the overall appeal of the region.

Looking Towards the Future

As Jimboomba continues to evolve and grow, Real Estate Agents Jimboomba remain at the forefront of shaping its real estate landscape. With a keen eye for opportunities and a commitment to excellence, these agents are poised to lead Jimboomba's real estate renaissance into a bright and prosperous future.

In conclusion, Real Estate Agents Jimboomba play a pivotal role in driving the transformation of Jimboomba's real estate market. Through their expertise, personalized service, and community engagement, they are not just selling properties but shaping the narrative of this thriving locale. Whether you're looking to buy, sell, or invest, partnering with these agents ensures a rewarding and fulfilling real estate experience in Jimboomba.

#Real Estate Agents Jimboomba

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mapmydestination · 1 month

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Pushkar Carnival: Rajasthan's Vibrant Festival & Cultural Celebration

Introduction:

Cuddled in the heart of the vibrant desert state of Rajasthan, the Pushkar Carnival stands as a testament to the rich cultural heritage and vibrant traditions that define this region. If you're planning a visit, consider convenient outstation cab booking services to ensure a comfortable journey.

Every year, this small town of Pushkar transforms into a kaleidoscope of colors, sounds, and festivities during the much-awaited Pushkar Carnival. For hassle-free travel, explore the option of a one-way taxi service for a seamless arrival at this enchanting destination. Car enthusiasts can also opt for car booking for outstation, allowing them to revel in the beauty of Rajasthan with ease.

The scenery displays a multitude of vibrant colours, teeming with vitality, stunning and radiant—an explosion of disorder amid a vast expanse of sand and Prosopis. For the best travel experience, consider choosing the best outstation cab service to navigate through the mesmerizing surroundings.

A Historical Prelude:

Pushkar, often referred to as the 'Rose Garden of Rajasthan,' is renowned for its sacred Pushkar Lake and the only Brahma Temple in the world. Planning your journey? Look for the best one-way taxi or opt for a one-side taxi service for a stress-free exploration of the historical sites and cultural wonders Pushkar has to offer. Conveniently book a taxi for outstation to ensure a seamless transition from your starting point to this ancient town.

The carnival has its roots deeply embedded in history, dating back to ancient times when local farmers and traders gathered during the holy Kartik Purnima festival. Considering an outstation cab or booking an outstation taxi online options can make your pilgrimage to Pushkar more convenient and enjoyable.

Modern-Day Extravaganza:

In contemporary times, the Pushkar Carnival has evolved into a grand celebration that showcases the rich tapestry of Rajasthan's culture, arts, and traditions. The carnival typically spans five days, with each day bringing a unique set of events and activities that leave a lasting impression on visitors.

Key Highlights:

Camel Fair:

The Pushkar Carnival is renowned for hosting one of the largest camel fairs in the world. Thousands of camels, adorned with vibrant textiles and intricate jewelry, create a mesmerizing sight against the arid desert backdrop. Explore the festivities with ease by considering outstation cab booking services for hassle-free transportation. Camel trading, camel races, and even a 'Mr. and Mrs. Camel' contest add to the festivities. Each November, during the full moon of the Hindu month Kartik, the town comes alive with the sound of camel bells.

Folk Performances:

Immerse yourself in the soul-stirring folk performances that grace the carnival stages. From traditional Rajasthani dance forms like Ghoomar to captivating puppet shows and lively music performances, the carnival provides a platform for local artists to showcase their talents.

Hot Air Balloon Rides:

The carnival offers hot air balloon rides for those seeking a bird's eye view of the picturesque landscape. Soaring above the vibrant chaos, participants can witness the kaleidoscope of colours that make Pushkar truly magical. As the unforgivably hot sun beats down on our heads, we make our way into the Pushkar Mela, India’s largest traditional mela or fair.

Mela Ground Attractions:

The Pushkar Carnival's Mela Ground hosts a myriad of activities and attractions, including a bustling marketplace, where artisans and traders display their wares. From traditional handicrafts to exquisite jewellery, the Mela Ground is a treasure trove for those eager to take a piece of Rajasthan's heritage home.

Spiritual Essence:

Pushkar Lake plays a central role during the carnival. Pilgrims take part in rituals, and the ghats come alive with the rhythmic chanting of prayers and the mesmerizing glow of floating diyas during the evening aarti. After braving the hordes of pilgrims at the Brahma Temple, we headed to Pushkar Lake and its many bathing ghats.

Cultural and Historical Interlude:

Pushkar's religious significance for both Sikhs and Hindus adds a deeper layer to the carnival experience. The town, well known for its gurdwaras built to commemorate the visits of Guru Nanak and Guru Gobind Singh, finds mention in the Puranas, the Mahabharata, and the Ramayana. The historical impact of Aurangzeb’s reign and the subsequent reconstruction of temples after the collapse of the Mughal Empire resonate through the ages.

Marketplace and Local Delights:

Next, we took a stroll through the busy markets, where the bustling activity mirrored the vibrancy of the carnival. The market sold everything from sweets prepared in thick ghee to saddles and bridles for camels and horses. Children ran between us, holding bunches of gaudy flowers and pencils to sell to the milling tourists. Various stalls showcased elaborate Rajput swords and shields, remnants of a bygone warrior era.

Marwari Horses and Camel Safari:

The fair is also famous for its Marwari horses, a rare breed from Jodhpur, known for its ear tips that turn inwards. According to legend, the Rathores, who governed Marwar, were renowned as the customary breeders of horses. Today, visitors can ride these horses for a unique view of the Pushkar Mela. An essential experience in Pushkar involves taking a camel safari, where you perch on one of those notoriously ill-tempered creatures and trot across the golden-brown sand.

Conclusion:

Exploring Pushkar deepened my understanding of the illustrious history of Rajasthan and the deep sense of pride its inhabitants hold for their traditions and heritage. For a seamless return journey, consider convenient outstation cab booking services offered by MapMyDestination | 2MD, a trusted traveling agency. You can easily book an outstation taxi online to enhance your overall experience. From the bedecked camels to the pure-bred horses, from the swords that gleamed in the sunlight to the glittery chaniya-cholis worn by the women, Pushkar Mela was a melee of color and festivity, a glimpse of the true heart of rural India that is hard to find in our increasingly urbanized world today. To make your travel more convenient, remember to book a one-side taxi for a hassle-free return trip. As the sky seemed endless above the swirling sand, the Pushkar Carnival proved to be a timeless celebration that not only captured the spirit of Rajasthan but also left an indelible mark on the hearts of those fortunate enough to experience its magic.

#taxi service #travel #tourism #travel destinations #vacation #cab #holidaypackages #out station cab service #taxi #tour #rajasthan #Carnival #pushkar #trip package

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project-discipline-2024 · 3 months

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Dear Third Week, It's a serene Saturday night, and here I am, enveloped in the soothing embrace of Café Background Music, a melodic companion to my post-exercise tranquility. As I reflect on the week that just unfolded, a sense of relief washes over me. This weekly ritual of introspection allows me to acknowledge achievements and identify areas for growth in the upcoming week.

The past week wove a tapestry of experiences—navigating familial connections, striking a balance between life and work, nurturing friendships, and grappling with decisions to alleviate stress. Amidst this mosaic, a deeply personal conflict emerged between a daughter and her mother. Though the details remain concealed, the resolution left me awe-inspired. Witnessing their journey from discord to harmony, where they not only spoke but also sought solace in prayer, was truly goosebump-inducing. This profound lesson underscores the enduring power of choosing love and understanding within families. It's a rarity in a world where such practices often take a backseat, or perhaps, I simply hadn't encountered it until my girlfriend entered my life. The act of turning to the divine for guidance and strength to fortify familial bonds was a beautiful testament to the strength of love. Kudos to every member of this extraordinary family, feline members included!

Balancing dual jobs is no easy feat, yet the gratitude for the additional income to support my family and fulfill personal needs runs deep. However, there have been moments when the weight of this dual role threatened to overpower me, raising concerns about potential consequences. The fear of my body retaliating for pushing its limits loomed large. In those moments, contemplation became my ally. I realized that prioritizing my mental health is non-negotiable. Reading more books, embracing the solace of prayers, and dedicating time to exercise emerged as my anchors. Focusing on the present, and detaching from the stress of deadlines, became a mantra. After all, what holds paramount significance is not the ticking clock but the essence of life itself. The key is to keep moving forward until the set deadlines cease to define us.

Marami man tayong pinagdaraanang mga pagsubok sa buhay na tila halos hindi na matapos-tapos, kung minsan hindi pa nga natatapos ang isa, mayroon na namang nakaabang na isa pa. Puno ng pagsubok ang buhay at ang kailangan natin ay matutunan kung paano ito haharapin. Piliin natin maging matapang at huwag sukuan ang mga ito bagkus gamitin natin itong daan para mas lalo pang maipakita sa lumikha na kaya nating magapi ang mga ito sa pamamagitan nya; sa paraang tayo ay magtiwala sa kanyang magagawa nang sa gayon ay malagpasan natin ang lahat ng ito sapagkat kailanman hindi nya tayo pababayaan.

Kaya naman sa panibagong linggo na ating kahaharapin, magbukas nawa ang maraming pinto ng opportunidad na makakapagpatibay sa ating isipan na mapaunlad pa ang ating kakayahan at higit sa lahat ang ating pananampalataya. Padayon, mga kaibigan!

As I bring this reflection to a close, I'm bubbling with enthusiasm about our upcoming journey to Benguet scheduled for next week. This marks my inaugural adventure of the year, and I couldn't be more thrilled to share it with my girlfriend and a handful of dear friends. Anticipating the beauty of Benguet, I find myself sending hopeful prayers to the heavens, asking for favorable weather, divine guidance, and an abundance of joy and memories on this trip.

The prospect of new beginnings and unforgettable experiences fuels my spirit, and I look forward to the unfolding of exciting events and positive news in the days ahead. This week, I'm channeling this inspiration into a commitment to self-improvement, dedicating the upcoming week to personal growth that promises to bring clarity and purpose to my life.

To everyone reading this, I extend my encouragement and support for your endeavors. May you find motivation in your tasks and strength in your journey. Happy weekend, and remember, I'm cheering you on from the sidelines!

#good mindset #inspiration #motivation #personal development #personal growth

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mysticalkingdeer · 5 months

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Has the Covid-19 pandemic changed the public perception of gaming?

Gaming: From Pastime to Social Haven

Throughout history, games have played an integral role in human society, serving as a source of entertainment, education, and social connection. The COVID-19 pandemic, with its unprecedented lockdowns and social distancing measures, has further amplified the significance of gaming, transforming it from a mere pastime into a lifeline for many.

Play: The Intrinsic Human Need

As an intrinsic human need, play is deeply rooted in our evolutionary history. It has been observed across various animal species as a crucial mechanism for exploration, learning, and adaptation. Similarly, play is pivotal in human development, fostering cognitive, social, and emotional growth throughout childhood.

Gaming: The Embodiment of Play in the Digital Realm

Video games, as digital manifestations of play, embody many of the core characteristics that define play:

Freedom: Gaming offers a realm of possibilities, allowing players to explore virtual worlds and engage in activities that may be limited or impossible in the real world.

Separation: Games establish distinct boundaries, creating a dedicated space and time for play, distinct from the demands of daily life.

Uncertainty: Gameplay outcomes are often unpredictable, introducing an element of surprise and challenge that fuels engagement.

Unproductivity: Gaming, in its purest form, is not driven by tangible outcomes or material gains. It exists for the sheer enjoyment of the experience.

Governance by Rules: Games operate within a defined set of rules, providing structure and a sense of order within the virtual realm.

Make-believe: Gaming often involves immersing oneself in a fictional world, temporarily suspending disbelief and embracing the imaginative possibilities that arise.

COVID-19: A Catalyst for Gaming's Transformation

Global lockdowns due to the COVID-19 pandemic led many people to games, e.g., Among Us, downloaded 100 million times in 2020, and the rise in popularity of Animal Crossing ensured Nintendo Switch’s profits (Lufkin, 2020). WHO changed its attitude toward online gaming “from warning of its dangerous and addictive character to praising its positive impact on socialising and coping with stress” (Kriz, 2020, p. 405). Reinforces the social elements of gaming as people look for safe ways to maintain social contact online (Griffiths, 2020). Game space (online) provided alternatives for social activities, including weddings, graduations, etc. (Lufkin 2020).

The COVID-19 pandemic emphasises social isolation and physical distancing, creating unique challenges for human connection. In this context, gaming emerged as a powerful tool for maintaining social bonds and fostering community.

Digital Communities: Virtual Worlds of Social Interaction

Online gaming communities flourished during the pandemic, providing individuals with a means to connect, socialize, and engage in shared experiences despite physical separation. These virtual worlds offered a sense of belonging, camaraderie, and shared purpose, alleviating loneliness and isolation.

Gaming's Broadened Appeal: From Gamers to Casual Players

The pandemic also witnessed a significant shift in the perception of gaming, broadening its appeal beyond traditional gamers to encompass a wider audience. As individuals sought new entertainment and connection during lockdowns, gaming emerged as an accessible and engaging option, attracting individuals from diverse backgrounds and ages.

The Evolving Public Perception of Gaming: A Positive Shift

The COVID-19 pandemic has undoubtedly altered the public perception of gaming, moving it away from stereotypes and misconceptions towards a more nuanced and positive understanding. Gaming is no longer solely associated with isolated individuals spending countless hours glued to screens. Instead, it has been recognized as a multifaceted phenomenon that offers entertainment, education, social connection, and a sense of community.

Conclusion: Gaming's Enduring Significance

As society navigates the post-pandemic landscape, gaming is poised to retain its newfound significance. While the world gradually transitions back to a more normalized state, the benefits and positive aspects of gaming are likely to endure. Gaming has proven its ability to provide entertainment, education, social connection, and a sense of community, making it an invaluable asset in promoting well-being and fostering human relationships.

References

Griffiths, M., 2020. Coronavirus: making friends through online video games. [online] The Conversation. [Accessed 17 November 2023]. Available at <https://theconversation.com/coronavirus-making- friends-through-online-video-games-134459>

Kriz, W. C. (2020) ‘Gaming in the Time of COVID-19’, Simulation & Gaming, 51(4), pp. 403–410. doi: 10.1177/1046878120931602.

Lufkin, B., 2020. How online gaming has become a social lifeline. [online] BBC, [Accessed 17 November 2023]. Available at <https://www.bbc.com/worklife/article/20201215-how-online-gaming-has- become-a-social-lifeline>

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