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religion-is-a-mental-illness · 4 years

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My mother says the bible is a collection of stories rather than instructions and I don’t know how to argue with that

Excellent. Put it on the shelf with Aesop’s Fables in the Fiction section of the bookshelf.

The bible is literally the only source anywhere of the claim that Jesus existed. If his adventures are just stories, then so is the assertion he existed at all.

What kind of characters star in fiction or a metaphor? Fictional or metaphorical ones. We don’t conclude any tortoise or any hare ever organized a race, or trash-talked each other.

https://www.atheistalliance.org/thinking-out-loud/the-bibles-final-metaphor/

Even for people we know existed, the events being a “story” renders the depiction fictional as well. Consider Mayor Adam West in Family Guy. Adam West, the actor, played a fictional version of himself. Real world Adam West was never a mayor, much less of the fictional town Quahog. And most likely, not a deranged lunatic like the fictional animated version.

Even if Jesus existed as a person - or more likely a composite of real people - the bible being mere “story” means that bible-Jesus is a fictional version of “real”-Jesus. And it means the bible tells us nothing real about him, much less that he was the son of a “god”, any more than Harold & Kumar Go to White Castle tells us anything about real-world Neil Patrick Harris.

At some point, some part of the bible has to actually be literally true, and that part has to be divine and magical, otherwise Xtianity is false. At which point a reliable method for separating the “true” bits from the “story” bits will be required, and evidence, outside the bible, to verify the “true” bits, and particularly the magic. (Not s small task given everything we know about the anonymous, forged, plagiarized, inaccurate and later altered and embellished writings of people who weren’t there.)

Don’t get me wrong - I’m great with it just being stories, because it means there’s nothing for us to do. There’s nothing real to rebut, no need to read or analyze it. Our job’s done and she’s discarded it all on her own. Good for her.

But that also means that she might as well have committed her life to worshipping the tortoise.

#ask #christianity #bible #jesus christ #bible study #stories #bible stories #fiction #terrible fiction #religion #religion is a mental illness #atheism #atheist

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incorrectkeunakenquotes · 7 years

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Heejun, a few feet away from the dorm door: Wait, I forgot my shoes!

Inseong: You wanna go back and get them?

Both: *Look back at the dorm*

Heejun: Nah, it’s too far.

#knk #oh heejun #jung inseong #source: harold and kumar go to white castle

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outfitandtrend · 2 years

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[ad_1] Admit it, in our youth we all saw The Hangover and wished that one day we’d have a raunchy and ridiculously exciting trip to Vegas with our mates. But over the years – and thanks to many, many movies – a stereotype has formed. And that stereotype is that every time men go away on a ‘boys’ trip’, the trip will solely revolve around booze, drugs and strippers. Sure, there are some vacations that involve aspects of heavy drinking, crazy scenarios and debauchery, à la The Hangover, Hot Time Time Machine, EuroTrip and Harold & Kumar Go To White Castle, – although I don’t know anyone who’s ever had a trip as wild as the ones featured in those fictional films – but for the most part, boys’ trips simply involve healthy male bonding. Think camping in a serene place where you spend the day fishing or surfing or four-wheel driving and then, at night, you enjoy a few beers over a campfire while chatting with your mates. Therefore, there’s no need for society to make men feel guilty for going on boys’ trips or like they need to convince their partners that nothing nefarious will happen. Instead, we should encourage men to take trips away with their mates; especially as it’s good for their mental and physical health. Multiple studies, including one done by Harvard University, show that by spending more time with friends – especially when on a vacation – men can improve their life satisfaction, reduce feelings of anxiety and depression, increase their life expectancy and cut the risk of heart disease. Plus, as Mitch Adams, the co-founder and Transformation Coach at The Gentlemen’s Club – an immersive six-month program designed to take men on a journey to discover all things health and well-being, which includes a three-day ‘survival’ camp – advises, going on relaxing trips with friends can also help men focus on what’s important. “[Trips away are] a much-needed reset for us. It enables us to strip away the facade that modern-day society has forced us to construct to communicate. It creates a connection back to self, our brothers and nature, giving us the chance to tap into what we really need and desire.“This time together allows us to discover a new found purpose and energy. We then return home to our families and achieve new levels of elevation in the world.”Mitch AdamsIn my opinion, we as a society need to break the boys’ trip stereotype and support men when they take vacations with their mates, as they’ll definitely be better for it. Plus, the chances of them waking up with a missing tooth and a tiger in their bathroom are slim to none… Read Next Did you enjoy this story? If so, subscribe to our daily newsletter to receive our top tending stories. [ad_2] Source link

#FASHIONFORMEN

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incorrect-idolmastersidem-quotes · 4 years

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Genbu: The universe tends to unfold as it should.

Suzaku: What is that? Some fortune cookie?

#source: harold & kumar go to white castle #genbu kurono #suzaku akai #shinsoku ikkon #imas sidem #sidem #idolm@ster sidem #the idolm@ster sidem #incorrect quotes

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incorrectlooneytunesquotes · 2 years

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Yosemite Sam: Did Actor Sean Astin just steal mah razzafrackin' car?

Yosemite Jack: Yes...I think he did.

Sam: Ooooooooooooooooooooooooooooooooohhhhhhhhhhhhhhhhhhhh!

#Yosemite Sam #source: harold and kumar go to white castle

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wrongweaponsdrawn · 2 years

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Arthur King: “I figured that The Narrator was a trustworthy lad.”

(Beat, as the other detectives look at him in an are-you-serious way)

“Come on, how was I supposed to know she’d f😬ck us over?"

(Source: Kumar, Harold & Kumar Go to White Castle)

#accomplices weapons drawn #detectives weapons drawn #lord tippet weapons drawn #the narrator weapons drawn #weapons drawn #the narrator weapon's drawn #lord tippet #wrongweaponsdrawn #lord tippet weapon's drawn #weapons drawn jackbox

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cruger2984 · 4 years

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Yuta: The universe tends to unfold as it should.

Niki: What is that? Some fortune cookie?

#source: harold & kumar go to white castle #yuta aoi #niki shiina #ensemble stars #incorrect quotes

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immedtech · 4 years

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What's coming to Netflix in January: hello 'Sabrina,' goodbye 'Friends'

It's the start of a new year and a new decade, but for Netflix this will be a bittersweet January -- it's as much about what's going away as what's coming. The company is ready to offer a helping hand, at least. It has released a schedule that not only tells you what to expect at the start of 2020, but what merits a marathon viewing session before it's gone for good.

The first big release of 2020 is a textbook example of what to expect next month: it's the third and final season of Anne with an E, Netflix's adaptation of the classic Anne of Green Gables story. The series winds down January 3rd. Grace and Frankie's second-to-last season premieres January 15th. The Ranch bows out on January 24th. And like it or not, the second half of Bojack Horseman's final season brings the animated series to a close on January 31st.

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Don't despair; it's not all sad. The situation brightens on January 10th, when RuPaul goes on a road trip in AJ and the Queen. The second season of the Gillian Anderson-starring comedy-drama Sex Education arrives on January 17th, as does the thriller Tyler Perry's A Fall from Grace. For many, the highlight of the month may be the January 24th debut of Chilling Adventures of Sabrina season three, when our titular heroine goes on a desperate mission in Hell.

There are some back catalog additions you'll appreciate as well. Dozens of movies and TV shows will be available on New Year's Day, including Ferris Bueller's Day Off, Harold & Kumar Go to White Castle, Inception, the two volumes of Kill Bill, The Ring and both the original Willy Wonka & the Chocolate Factory as well as its decades-later revival as Charlie and the Chocolate Factory.

For many, though, Netflix's January will be defined by one glaring, impossible-to-miss departure: Friends is leaving the service at the end of 2019. WarnerMedia is determined to make the classic sitcom a centerpiece of HBO Max, leaving legions of devotees without much choice to subscribe to yet another service to revisit their favorite moments. You'll also want to budget some viewing time if you like certain classic movies. Æon Flux, American Psycho, Grease and the original Zombieland are among the better-known titles that will vanish at the end of the month.

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New Year, New Titles From the final season of #AnneWithAnE to movies like Inception, A Cinderella Story, and The Bling Ring... Here's everything coming to Netflix US in January! pic.twitter.com/s5DULYUuBK

— See What's Next (@seewhatsnext) December 11, 2019

Source: Netflix (YouTube)

- Repost from: engadget Post

#ITlive #engadget #What's coming to Netflix in January: hello 'Sabrina #' goodbye 'Friends'

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jspark3000 · 7 years

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Ugly Asian Male: On Being the Least Attractive Guy in the Room

Statistically, I’m the least attractive person in the dating scene. Alongside black women, the Asian-American male is considered the most ugly and undesirable person in the room.

Take it from Steve Harvey, who won’t eat what he can’t pronounce:

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Eddie Huang, creator of the groundbreaking Asian-American sitcom Fresh Off the Boat, responded to Steve Harvey in The New York Times:

“[Every] Asian-American man knows what the dominant culture has to say about us. We count good, we bow well, we are technologically proficient, we’re naturally subordinate, our male anatomy is the size of a thumb drive and we could never in a thousand millenniums be a threat to steal your girl.”

Asian-American men, like me, know the score. That is, we don’t count at all.

Hollywood won’t bank on me. Think: When was the last time you saw an Asian male kiss a non-Asian female in a movie or TV show? Or when was the last time an Asian-American male was the desired person in a romantic comedy? And more specifically, when where they not Kung Fu practitioners or computer geniuses? I can only think of two examples: Steven Yeun as Glenn from The Walking Dead and John Cho as Harold from Harold and Kumar Go to White Castle. So it takes either a zombie apocalypse or the munchies to see a fully breathing Asian male lead, or a Photoshop campaign #StarringJohnCho for an Asian protagonist with actual thoughts in his head.

It’s so rare to see a three-dimensional Asian male character, with actual hopes and dreams, that Steven Yeun remarks in GQ Magazine:

GQ Magazine: When you look back on your long tenure on The Walking Dead, what makes you proudest?

Steven Yeun: Honestly, the privilege that I had to play an Asian-American character that didn’t have to apologize at all for being Asian, or even acknowledge that he was Asian. Obviously, you’re going to address it. It’s real. It’s a thing. I am Asian, and Glenn is Asian. But I was very honored to be able to play somebody that showed multiple sides, and showed depth, and showed a way to relate to everyone. It was quite an honor, in that regard. This didn’t exist when I was a kid. I didn’t get to see Glenn. I didn’t get to see a fully formed Asian-American person on my television, where you could say, “That dude just belongs here.” Kids, growing up now, can see this show and see a face that they recognize. And go, “Oh my god. That’s my face too.”

Growing up, I never had that, either. I can’t help but think of this scene from the biopic, Dragon: The Bruce Lee Story, in which Bruce Lee watches the controversial Asian stereotype played by Mickey Rooney in Breakfast at Tiffany’s to a theater filled with derisive laughter. This moment with Bruce Lee is most likely fictional, but the weight of it is not lost on us:

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This was a powerful moment for me as a kid, because I grew up with the same sort of mocking laughter, whether it was watching Short Round in Indiana Jones and the Temple of Doom with my white neighbors, or being assailed by the Bruce Lee wail in the local grocery store. I knew they were laughing at me, and not with.

“But hey wait!”—I’m told, with fervent knowing, “I know some Asian guys who are hot!” and I’m pointed to an infamous Buzzfeed list that shows “the hottest Asian men who will prove you wrong about Asian men,” with zero irony. Yes, I’ve seen the list. And yes, they’re like I expected: hard-rock glistening abs that are impossible for the working Asian dad, with classically European, chiseled faces and surgically-lifted eyes. More than that, it plays into the same creepy objectification of Asians as sexual play-toys.

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Perhaps even worse than the portrayal of Asian men is how they’re not. More often, an acting role becomes “whitewashed” to suit a global audience, or an Anglo-American is the audience-avatar as a safety net for box office returns (remember, the last samurai in The Last Samurai was white).

I know this is a shrill, ill-discussed subject with all kinds of variables, but from the prosthetic slanted eyes in Cloud Atlas to race-bleaching in Ghost in the Shell to the the “Yellow Peril” demonizing of Asian males as evil ninjas and drug dealers in Daredevil and Iron Fist, Asian-Americans—especially males, as females can still literally serve as co-stars—are vastly both mis- and under-represented. We’re used for a footnote joke at the Academy Awards (the same year that there was a campaign called #OscarsSoWhite), an overly loud insane person in raunchy comedies like The Hangover or Saving Silverman, or a “funny foreigners” punchline in the falsely interpreted romantic comedy, 500 Days of Summer.

One of the obvious reasons that Asian-Americans are sidelined in the mainstream is because there’s no money in it. It’s that simple. Freddie Wong, in his parody video of Ghost in the Shell casting Scarlett Johansson, says it best:

“Because, as a studio executive, the immorality of whitewashing a beloved work of Japanese culture is outweighed by my fear that audiences won’t want to watch a movie starring an Asian woman. And I don’t have the balls to take that risk. Besides, whatever political outrage this decision evokes doesn’t materially effect how much money I make.”

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In other words, we’re stuck in a Catch-22. There can be no roles for an Asian-American unless it guarantees a profit, but since we’re not portrayed regularly in most media, there’s never a chance for Asian-American leads to draw a profit in the first place. I get the bottom line here, and I’m not so oblivious to consider that investors are all idealistic innovators. The creative risk is too daring. From an executive’s point of view, I can almost painfully understand.

So besides whitewashing an entirely Asian property, the next best thing is to throw in a scrap of representation by using the whole stereotype. Make the Asian guy the smartest or the martial artist, and there’s your token diversity. It’s why major Hollywood blockbusters have now made shoehorned references to China: because they’re a huge source of box office revenue, and a pandering shout-out to China, no matter how forced or unoriginal, will mean more ticket sales. (It’s even going the other way, with Chinese movies like The Great Wall casting a white role to get more sales in America.)

Yet these roles have little nuance and only serve to further someone else’s plot. I’m the Manic Pixie Dream Girl and the Magical Negro, rolled into a non-threatening sidekick or the meditative Zen master. I will never be the action star or the romantic lead. God forbid that an Asian-American male would ever win against a non-Asian.

In some cases, Asians have capitalized on their own mockery by making fun of themselves in minstrel-like deprecation. I was surprised to find that the first winner of Last Comic Standing was a Vietnamese-American named Dat Phan, until I saw his routine, which went for the lowest hanging fruit possible. If you can’t beat the laughter, why not become the jester? Even other Asians want in on their own sabotage.

Representation for the Asian-American only seems to happens when it aims for the least common denominator. The cheapest move, of course, is to completely hijack the “exotic quaintness” of Asian culture without going “fully Asian,” in order to boost a pseudo-masculinity. It’s easy: throw in Chinese tattoos or an Asian-type mysticism, and the non-Asian character instantly gains credibility. You can make up an Asian-sounding name, like “David Wong,” actual name Jason Pargin, a white author at Cracked.com, or Michael Derrick Hudson, a white poet who uses pen name “Yi-Fen Chou,” and watch the doors open. All the benefits, none of the fuss. Use my name without the actual struggle.

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Of course, Asian-Americans are accused of allowing such undercover racism in the mainstream because we’re silent, passive, and obedient. We’re easy targets. We don’t typically march or cause disruption. We’re not socially involved. It’s why a huge clothing company like Abercrombie & Fitch can make shirts with Asian stereotypes like “Two Wongs Can Make It White.” It’s why Stephen Colbert (whom I love, by the way), can get away with non-apologies when he cracks yet another Asian joke. It’s why Ryo Oyamada, a 24 year old Japanese college student, can get run over by a police car in New York, and the officer goes free and no one chants in the streets.

If you replaced the race with any other, the response would be louder, with solidarity on every side. Asian? No one cares. Literally and statistically, no one cares. Worst of all, it appears that Asians don’t care, either. It’s always a surprise when we speak up. You can drag an Asian-American off an airplane, and the most noise you’ll hear from other Asians is that they just don’t want to be seen as noisy and displeasing.

The thing is, there are no shortage of Asian-American men who are physically and intellectually desirable, who could portray themselves as fully living beings with compelling stories and relatable conflicts. Is it possible that the mainstream, for all its talk about diversity, is afraid of encountering a man who is both Asian-American and attractive? Is it simply intolerable to witness an Asian-American switch lanes between the sidekick and the star? Has the Asian-American male been permanently imprinted as comic relief or Karate expert? Is it too culturally explosive to pair an Asian-American male with a non-Asian female? Can we really handle an Asian alpha male who gets the girl at the end? (Much less a non-Asian female lead get an Asian guy at the end?)

I have to admit that some of this is on us. No, I don’t mean that we brought it on ourselves. I would never, ever perpetuate blaming the victim. I mean that we can still fight against the pervasive, seemingly impermeable walls around the identity of the Asian male, by reaching and demanding for more challenging roles in every sphere of media. The shift in perception of the Asian-American male coincides with a shift in self-perception.

Is it also possible to take a creative risk without guarantees? I know today’s market is less likely to pave new ground, with its risk-averse eye on sequels and reboots and recycling the same tale, but I wonder how we can tell new tales without resorting to the cheapest, easiest cliches, without exploiting Asian culture for “mystical credibility” but celebrating its uniqueness with a thoughtful exploration of both its treasures and its trials.

I’ll leave you with a quote from Lewis Tan, the half-Asian-American actor who was rejected for the role of Iron Fist. In a recent interview, he says:

“I’ve turned down a couple roles. My agents will tell you when I first signed with them, I turned down the first three or four things that came up. I’ve just turned down roles that were super-stereotypically Asian that I didn’t feel represented me and I didn’t want to do. Not to necessarily say they’re bad roles, but it just wasn’t me. I’m not going to do this dorky Asian accent and just play someone in the background. That’s not why I’m here to act. I’m here to represent and to make stories that I believe in and to achieve new things in the industry.”

#Asian-American #race #culture #art #media #representation #POC #Steven Yeun #Iron Fist #racism #whitewashing #Orientalism #yellow peril #mysticism #appropriation #North Korea #China #social commentary

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