I can tell ya, that ddocks was a rollercoaster / UPE t0 sword solo w/santas workshop buffs :')
LINK
https://youtu.be/fKjFGWoGoRM
My m8 with way better drop luck nexused the fugg out while he was our dmg carry since I got... what I deserve probably.
I used plenty of santas workshop buffs to make it fun - luckily so because I spontaneously needed to solo lol.
I didn't wanna leave the dungeon because it was a modded key x) - debateable UPE status lol, but was just having some fun ;) sure wouldn't consider modding keys for UPE a "Clean UPE" x)
Hope ya'll enjoy it, for me it was hella exciting to get through with that massive dps lmao - rewatching the footage was quiet fun ngl
I sped it up a little for obvious reasons ;)

https://www.amazon.com/dp/B09MD95S5V

Hello everyone and welcome to the bi-weekly Office Hours thread.
Office Hours is a feature thread intended to focus on questions and discussion about the profession or the subreddit, from how to choose a degree program, to career prospects, methodology, and how to use this more subreddit effectively.
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While not an exhaustive list, questions appropriate for Office Hours include:

• Questions about history and related professions
• Questions about pursuing a degree in history or related fields
• Assistance in research methods or providing a sounding board for a brainstorming session
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Also be sure to check out past iterations of the thread, as past discussions may prove to be useful for you as well!

Just like the Return of the King in Lord of the Rings, we're back for another installment of fun-filled embassy and cultural events for you to enjoy!
Issue No.65 can be found through this awesome link!

Tuesday, May 14th, 2024

1. A Discussion and Workshop with Carlos Moreno (9:30AM - 2PM) (FREE!)
   • Description: Columbian urban planner Carlos Moreno will join us for a workshop and discussion on May 14th starting at 9:30am!
   • Host Organization: The School of Architecture and Planning
2. Mexico after AMLO Lecture (2PM - 3PM) (FREE!) 🇲🇽
   • Description: Join Hudson for a discussion of possible post-election scenarios in Mexico
   • Host Organization: Hudson Institute
3. Alliance Française Washington Annual Benefit (5:30PM - 9:30PM) ($275) 🇫🇷
   • Description: You can stroll in the fragrant gardens, visit the mansion and its fabulous collections of French Decorative Arts after hours -without the usual crowds-, enjoy the new special exhibition connecting Hillwood to France, "Marjorie Merriweather Post's Paris," and, bien sûr, take photos and selfies and tag us!
   • Host Organization: Alliance Française de Washington, DC (AFDC)
4. Kate Myers for Excavations Book Talk (6PM - 7PM) (FREE!) 📕
   • Book Description: In this zippy and hilarious escape-read set on a Greek archeological site where the first Olympics took place, four incompatible women band together to make the discovery of a lifetime. Funny, edgy, escapist reading! Perfect for book clubs.
   • Host Organization: People’s Books
5. An Evening with Sara Kramer, Sarah Hymanson & Rose Previte for KISMET (7PM - 9PM) ($8.73 for general admission, $46.06 for signed copy of book) 📕
   • Book Description: Join us for an evening of fun, delicious, healthy sweets & conversation with Sara Kramer and Sarah Hymanson to celebrate the release of their first cookbook “KISMET: BRIGHT, FRESH, VEGETABLE-LOVING RECIPES”.
   • Host Organization: Bold Fork Books

Week 15-16: Triolets and Kyrielles
Day 1: Mastering Triolets - Activity: Analyze a classic triolet for its compact structure and repetition. - Lecture: Discuss the characteristics and rhyme scheme of triolets. - Discussion: Share thoughts on the impact of repeated lines in a compact form.
Day 2: Crafting Triolets with Precision - Activity: Break down the process of crafting a triolet. - Lecture: Explore the use of repetition and economy of language in triolets. - Discussion: Share and discuss individual triolets, focusing on the success of repetition.
Day 3: Embracing the Kyrielle - Activity: Analyze a famous kyrielle for its repeating lines and rhythmic qualities. - Lecture: Explain the structure and thematic possibilities of kyrielles. - Discussion: Discuss the challenges and beauty of crafting poems with repeated lines.
Day 4: Writing Exercise - Developing a Kyrielle - Activity: Craft a kyrielle exploring themes of resilience or change. - Assignment: Write a triolet on a chosen subject. - Vocabulary Words: Refrain, Rhyme Scheme, Narrative Possibilities.
Day 5: Peer Review and Feedback - Activity: Peer review workshop for triolets and kyrielles. - Lecture: Discuss the impact of repeated lines in triolets and the thematic possibilities of kyrielles. - Discussion: Share insights gained from reviewing peers' work.
Study Guide Questions for Week 15-16: 1. Discuss the characteristics and rhyme scheme of triolets. How does repetition contribute to their impact? 2. Explore the use of repetition and economy of language in crafting triolets. 3. What defines a kyrielle, and how do its repeating lines contribute to its thematic possibilities? 4. Discuss the challenges and beauty of crafting poems with repeated lines in kyrielles. 5. Reflect on the process of crafting triolets and kyrielles. How did you approach the themes and rhythmic qualities?
Quiz: Assessment on triolets, kyrielles, and the impact of repeated lines in poetry.
Week 17-18: Ode to Joyful Ballads
Day 1: Writing Joyful Odes - Activity: Analyze classic odes for their celebratory nature. - Lecture: Discuss the characteristics and structure of odes. - Discussion: Share personal experiences or topics worthy of celebration.
Day 2: Crafting Odes with Precision - Activity: Break down the process of crafting an ode. - Lecture: Explore the use of vivid language and poetic devices in odes. - Discussion: Share and discuss individual odes, highlighting successful elements.
Day 3: Understanding Narrative Ballads - Activity: Analyze a famous ballad for its storytelling qualities. - Lecture: Explain the narrative structure and musicality of ballads. - Discussion: Discuss the challenges and beauty of crafting narrative ballads.
Day 4: Writing Exercise - Crafting a Ballad - Activity: Craft a ballad recounting a personal or fictional tale. - Assignment: Write an ode celebrating an everyday object or experience. - Vocabulary Words: Ode, Stanza, Narrative Structure.
Day 5: Peer Review and Feedback - Activity: Peer review workshop for odes and ballads. - Lecture: Discuss the celebratory nature of odes and the storytelling qualities of ballads. - Discussion: Share insights gained from reviewing peers' work.
Study Guide Questions for Week 17-18: 1. Discuss the characteristics and structure of odes. How do odes differ from other poetic forms? 2. Explore the use of vivid language and poetic devices in crafting odes. 3. What defines a ballad, and how does its narrative structure contribute to its storytelling qualities? 4. Discuss the challenges and beauty of celebrating everyday objects or experiences in odes. 5. Reflect on the process of crafting odes and ballads. How did you approach celebratory themes and storytelling?
Quiz: Assessment on the understanding of odes, ballads, and the use of vivid language in poetry.

The idea that the universe and its exquisite fine-tuning is the product of "self-organization" or "self-cause" is a woefully inadequate and logically incoherent attempt to explain away what is more reasonably attributed to the intentional activity of a transcendent intelligent Creator. As philosopher William Lane Craig argues, "The most plausible answer to the question of why something exists rather than nothing is that there is a necessarily existent being, God, who is the ground of being for everything else that exists." (Craig, 2008, p. 182)
The concept of "self-organization" posits that the staggeringly complex and finely-calibrated cosmos arose through mindless, unguided processes - that the unimaginably precise initial conditions and physical constants required for a life-permitting universe all fell into place by sheer chance or some inscrutable naturalistic mechanism. But as philosopher and mathematician William Dembski notes, "The amount of specified complexity in even the simplest life-forms is staggering. The probability of their occurrence by chance is unfathomably small. Attributing such specified complexity to blind natural causes is akin to attributing the integrated circuit to the blind heat of a kiln. It strains reason." (Dembski, 2004, p. 151)
In our uniform and repeated experience, specified complexity and informational richness invariably originate from minds, not mindless processes. As former atheist philosopher Antony Flew observes, "The only satisfactory explanation for the origin of such 'end-directed, self-replicating' life as we see on earth is an infinitely intelligent Mind." (Flew & Varghese, 2007, p. 132) To suggest that the functional complexity and apparent design of biological systems and the cosmos as a whole is the product of unguided natural processes is as absurd as suggesting that the informational content of software wrote itself, or that the faces on Mount Rushmore are the result of mere wind and erosion. It flouts the principle of abductive reasoning, which compels us to infer to the best explanation given our background knowledge. As philosopher Richard Swinburne contends, "The hypothesis of theism is a simple hypothesis which leads us to expect these observable phenomena, when no other simple hypothesis will do so." (Swinburne, 2004, p. 68)
Moreover, "self-cause" scenarios run aground on inescapable logical and metaphysical absurdities. They inevitably involve the universe somehow "causing itself" or "arising from nothing" - but this is patent nonsense. As Aristotle recognized, "Nothing can come from nothing, and nothing can become actual except it is potentially so." (Aristotle, Physics, 1.8) Being cannot spontaneously arise from non-being. Every contingent effect requires a sufficient non-contingent cause. As philosopher Alexander Pruss argues, "The Principle of Sufficient Reason (PSR) and the causal principle. . . provide strong reasons to suppose that there is an ultimate cause of contingent things and that this cause. . . is a necessary being." (Pruss, 2009)
An eternal, uncaused, immaterial, unimaginably powerful and intelligent Mind - in short, God - is a far more plausible and logically coherent explanation for the origin and fine-tuning of the cosmos than naturalistic appeals to "self-cause." As philosopher Robin Collins concludes, "Given the fine-tuning evidence, the many-worlds hypothesis is at least no better as a theory for explaining the fine-tuning than the design hypothesis, and arguably is worse. . .[T]he inference to design is in this case the best explanation." (Collins, 2009, p. 274)
Those who deny this and attribute everything to "self-cause" are really just engaging in a thinly-veiled attempt to evade the obvious conclusion to which the evidence points - that our universe is the product of a transcendent and intentional Creator. They accuse theists of a "God of the gaps" approach while conveniently ignoring their own "self-cause of the gaps" explanatory failure.
Abductive logic and the principle of inferring to the best explanation compel the conclusion that an intelligent First Cause is the most plausible and causally adequate explanation for the origin and fine-tuning of the cosmos. To quote Cambridge astrophysicist Sir Fred Hoyle, himself no theist, "A common sense interpretation of the facts suggests that a superintellect has monkeyed with physics. . . and that there are no blind forces worth speaking about in nature." (Hoyle, 1982, p. 12) The cosmos bears the unmistakable imprint of intentional design by a Supreme Intelligence. Naturalistic appeals to unguided "self-organization" simply fail to adequately account for its astounding sophistication and specificity.
In conclusion, the concept of "self-cause" is nothing more than an ad hoc "X of the gaps" attempt to deny what the evidence clearly indicates - that our universe is the product of an intentional and intelligent First Cause. Pushing the explanatory question back a step by appealing to an inscrutable "self-organizing" process is a glaring explanatory failure that runs aground on logical absurdities and violates the principle of abductive reasoning. A transcendent and superintelligent Creator remains the best and most causally adequate explanation for the origin and fine-tuning of the cosmos.
References: - Aristotle. (4th c. BC) Physics. - Collins, R. (2009). The teleological argument. In W. L. Craig & J. P. Moreland (Eds.), The Blackwell Companion to Natural Theology (pp. 202-281). Wiley-Blackwell. - Craig, W. L. (2008). Reasonable Faith. 3rd ed. Crossway. - Dembski, W. (2004). The Design Revolution. InterVarsity Press. - Flew, A. & Varghese, R. A. (2007). There Is a God. HarperOne. - Hoyle, F. (1982). The Universe: Past and Present Reflections. Annual Review of Astronomy and Astrophysics. Vol. 20, pp. 1-35. - Pruss, A. (2009). The Leibnizian Cosmological Argument. In W. L. Craig & J. P. Moreland (Eds.), The Blackwell Companion to Natural Theology (pp. 24-100). Wiley-Blackwell. - Swinburne, R. (2004). The Existence of God. 2nd ed. Oxford University Press.

The idea that the universe and its exquisite fine-tuning is the product of "self-organization" or "self-cause" is a woefully inadequate and logically incoherent attempt to explain away what is more reasonably attributed to the intentional activity of a transcendent intelligent Creator. As philosopher William Lane Craig argues, "The most plausible answer to the question of why something exists rather than nothing is that there is a necessarily existent being, God, who is the ground of being for everything else that exists." (Craig, 2008, p. 182)
The concept of "self-organization" posits that the staggeringly complex and finely-calibrated cosmos arose through mindless, unguided processes - that the unimaginably precise initial conditions and physical constants required for a life-permitting universe all fell into place by sheer chance or some inscrutable naturalistic mechanism. But as philosopher and mathematician William Dembski notes, "The amount of specified complexity in even the simplest life-forms is staggering. The probability of their occurrence by chance is unfathomably small. Attributing such specified complexity to blind natural causes is akin to attributing the integrated circuit to the blind heat of a kiln. It strains reason." (Dembski, 2004, p. 151)
In our uniform and repeated experience, specified complexity and informational richness invariably originate from minds, not mindless processes. As former atheist philosopher Antony Flew observes, "The only satisfactory explanation for the origin of such 'end-directed, self-replicating' life as we see on earth is an infinitely intelligent Mind." (Flew & Varghese, 2007, p. 132) To suggest that the functional complexity and apparent design of biological systems and the cosmos as a whole is the product of unguided natural processes is as absurd as suggesting that the informational content of software wrote itself, or that the faces on Mount Rushmore are the result of mere wind and erosion. It flouts the principle of abductive reasoning, which compels us to infer to the best explanation given our background knowledge. As philosopher Richard Swinburne contends, "The hypothesis of theism is a simple hypothesis which leads us to expect these observable phenomena, when no other simple hypothesis will do so." (Swinburne, 2004, p. 68)
Moreover, "self-cause" scenarios run aground on inescapable logical and metaphysical absurdities. They inevitably involve the universe somehow "causing itself" or "arising from nothing" - but this is patent nonsense. As Aristotle recognized, "Nothing can come from nothing, and nothing can become actual except it is potentially so." (Aristotle, Physics, 1.8) Being cannot spontaneously arise from non-being. Every contingent effect requires a sufficient non-contingent cause. As philosopher Alexander Pruss argues, "The Principle of Sufficient Reason (PSR) and the causal principle. . . provide strong reasons to suppose that there is an ultimate cause of contingent things and that this cause. . . is a necessary being." (Pruss, 2009)
An eternal, uncaused, immaterial, unimaginably powerful and intelligent Mind - in short, God - is a far more plausible and logically coherent explanation for the origin and fine-tuning of the cosmos than naturalistic appeals to "self-cause." As philosopher Robin Collins concludes, "Given the fine-tuning evidence, the many-worlds hypothesis is at least no better as a theory for explaining the fine-tuning than the design hypothesis, and arguably is worse. . .[T]he inference to design is in this case the best explanation." (Collins, 2009, p. 274)
Those who deny this and attribute everything to "self-cause" are really just engaging in a thinly-veiled attempt to evade the obvious conclusion to which the evidence points - that our universe is the product of a transcendent and intentional Creator. They accuse theists of a "God of the gaps" approach while conveniently ignoring their own "self-cause of the gaps" explanatory failure.
Abductive logic and the principle of inferring to the best explanation compel the conclusion that an intelligent First Cause is the most plausible and causally adequate explanation for the origin and fine-tuning of the cosmos. To quote Cambridge astrophysicist Sir Fred Hoyle, himself no theist, "A common sense interpretation of the facts suggests that a superintellect has monkeyed with physics. . . and that there are no blind forces worth speaking about in nature." (Hoyle, 1982, p. 12) The cosmos bears the unmistakable imprint of intentional design by a Supreme Intelligence. Naturalistic appeals to unguided "self-organization" simply fail to adequately account for its astounding sophistication and specificity.
In conclusion, the concept of "self-cause" is nothing more than an ad hoc "X of the gaps" attempt to deny what the evidence clearly indicates - that our universe is the product of an intentional and intelligent First Cause. Pushing the explanatory question back a step by appealing to an inscrutable "self-organizing" process is a glaring explanatory failure that runs aground on logical absurdities and violates the principle of abductive reasoning. A transcendent and superintelligent Creator remains the best and most causally adequate explanation for the origin and fine-tuning of the cosmos.
References: - Aristotle. (4th c. BC) Physics. - Collins, R. (2009). The teleological argument. In W. L. Craig & J. P. Moreland (Eds.), The Blackwell Companion to Natural Theology (pp. 202-281). Wiley-Blackwell. - Craig, W. L. (2008). Reasonable Faith. 3rd ed. Crossway. - Dembski, W. (2004). The Design Revolution. InterVarsity Press. - Flew, A. & Varghese, R. A. (2007). There Is a God. HarperOne. - Hoyle, F. (1982). The Universe: Past and Present Reflections. Annual Review of Astronomy and Astrophysics. Vol. 20, pp. 1-35. - Pruss, A. (2009). The Leibnizian Cosmological Argument. In W. L. Craig & J. P. Moreland (Eds.), The Blackwell Companion to Natural Theology (pp. 24-100). Wiley-Blackwell. - Swinburne, R. (2004). The Existence of God. 2nd ed. Oxford University Press.

"L-Awstralja tipprova twaqqaf epidemija ta’ vjolenza fuq in-nisa, ibda mill-iskejjel
""Allura, ejja nitkellmu dwar il-porn,"" jgħid Ethan West lill-klassi tal-adoloxxenti Awstraljani. Ħafna jidhru kemmxejn skomdi. Kollha huma kwieti b'mod mhux karatteristiku.
""Kun videos pornografiċi jibdew b'relazzjoni fejn l-atturi jitkellmu dwar sentimenti jew kunsens?"" ikompli hu. Aktar silenzju.
Fil-Kellyville High School, fit-tramuntana ta’ Sydney, din hija biss konverżazzjoni waħda delikata li ż-żgħażagħ ta’ 15-il sena se jkollhom illum.
Minn ċajt sessisti u kontroll koerċittiv għal attakk sesswali u attakki brutali mnebbħa mill-għira - m'hemmx wisq limiti fuq il-programm Love Bites li l-karità nazzjonali Napcan tat lil eluf ta' studenti.
It-titlu ta’ “edukazzjoni ta’ relazzjoni rispettuża” jinstema’ xi ftit. Iżda qed jitwassal fi sfond ta’ vjolenza fuq in-nisa f’dan il-pajjiż li ġie msejjaħ bħala “kriżi nazzjonali”. Fil-qalba tagħha: tipprova tbiddel l-attitudnijiet u l-imġieba li kkontribwew għal dik il-kultura.
Il-qtil ta’ sikkina ta’ profil għoli ta’ sitt persuni fiċ-ċentru kummerċjali Bondi Junction f’Sydney ix-xahar li għadda – li fih il-pulizija qalet li deher “ovvju” li l-attakkant Joel Cauchi kien fil-mira tan-nisa – ġab il-kwistjoni f’fokus aktar qawwi.
Fix-xahar minn dakinhar, mill-inqas tliet nisa Awstraljani ġew maqtula, allegatament minn sieħba jew eks.
S’issa din is-sena, 28 mara nqatlu b’mod vjolenti fl-Awstralja, skont il-grupp tal-kampanja Destroy the Joint li jmexxi l-proġett Counting Dead Women. Fl-istess punt is-sena l-oħra kien 15.
Fl-2023, 64 mara nqatlu minn xi ħadd magħruf minnhom. Fir-Renju Unit, pajjiż b’aktar mid-doppju tal-popolazzjoni, in-numru kien 100, skont il-proġett Counting Dead Women fir-Renju Unit.
Ġimagħtejn ilu, għexieren ta’ eluf ta’ nies madwar l-Awstralja ħadu sehem f’marċi li talbu biex il-vjolenza sessista tiġi ddikjarata emerġenza nazzjonali.
Shirya
Shriya ħadet sehem f’workshop fl-iskola sekondarja tagħha fit-tramuntana ta’ Sydney
“Għal mara żagħżugħa li qed tikber fl-Awstralja hija tal-biża’, li tkun taf li dawn l-affarijiet qed iseħħu,” tgħid l-istudenta Shriya, li tisma’ b’attenzjoni fuq wara tal-klassi hekk kif il-grupp jingħata karti żgħar b’dikjarazzjonijiet bħal “ugwaljanza”, “slut- shaming"" u ""jibgħat nudes mhux mixtieqa"".
Huma mitluba jpoġġu l-frażijiet tul linja ta’ masking tape fuq l-art – immarkati “kultura ta’ rispett u kunsens” f’tarf wieħed, u “kultura ta’ vjolenza u abbuż” fuq in-naħa l-oħra.
""Aħseb fil-linja llum bħala metafora għas-sentiment tal-imsaren tiegħek,"" tgħid Tara Gleig, uffiċjal ta 'appoġġ għall-istudenti li qed tgħin biex tmexxi Love Bites. ""Ġismek se jgħidlek meta xi ħaġa ma tkunx sew. Irrid li inti tkun tista 'tkun taf fejn dak.""
Bħala kuntistabbli anzjan mal-Pulizija ta’ New South Wales, l-esperjenza ta’ Ethan West li jattendi telefonati għall-vjolenza domestika ġegħlitu jixtieq jirranġa dik li jsejjaħ “epidemija”.
Ethan Punent
Il-ħidma flimkien se tagħmel differenza, jgħid il-Kuntistabbli Anzjan Ethan West
""Kull żewġ minuti pulizija tissejjaħ għal sitwazzjoni ta 'vjolenza domestika fl-Awstralja,"" jgħid. U jaħseb li għall-ġenerazzjoni żagħżugħa, il-vjolenza domestika tinsab fuq “kamp ta’ battalja ġdid”.
""Kollox fuq l-internet - hemm stalking, fastidju. U ħafna mill-problemi tar-relazzjonijiet huma l-bgħit ta' immaġini intimi. Iż-żgħażagħ qed jaqsmu ritratti nudi l-ħin kollu. Ir-relazzjoni tista' tispiċċa u jinqasam ma' ħaddieħor. Dik hija vjolenza domestika reat.""
Għal Kya ta’ 16-il sena, li ħadet sehem f’Love Bites sena ilu, li trabbet fl-Awstralja tħalliha “fuq it-tarf” – mhux biss it-theddida ta’ vjolenza iżda l-mikro-aggressjonijiet ta’ ċajt sessista u sensazzjoni li hija inqas apprezzata. mis-subien fil-klassi u l-komunità tagħha.
""Hemm ħafna avvanzi ġodda fis-soċjetà, iżda din għadha xi ħaġa li qed isseħħ,"" tgħid. ""Għandek xi ħadd li jagħmel kumment sessist [imma] tassew mhuwiex daqshekk diffiċli li tevolvi minnu.""
Hija taħseb li aktar subien fil-grupp tas-sena tagħha jeħtieġ li ""jżidu"", għalkemm xi wħud huma impenjati b'mod ċar li jagħmlu aktar.
Iżaija
Izaiah jgħid li t-tagħlim dwar il-vjolenza fir-relazzjoni hija ""parti kbira minn meta tikber bħala żagħżugħ Awstraljan""
“Bħala raġel, inħoss il-ħtieġa li nkun aktar maskili, aktar b’saħħtu,” jgħid Izaiah – l-aktar ċatt mis-subien fis-sessjoni li nosservaw.
""Il-vjolenza fir-relazzjoni hija serja ħafna. It-tagħlim dwarha huwa parti kbira ħafna mit-tkabbir bħala żagħżugħ Awstraljan.""
Iżda huwa diffiċli li ssib il-bidla. 10 snin ilu, iben Rosie Batty, Luke, inqatel minn missieru, Greg Anderson. Is-Sinjura Batty kompliet saret waħda mill-aqwa kampanji tal-pajjiż kontra l-vjolenza fil-familja, iżda l-konversazzjoni nazzjonali ta’ spiss reġgħet bdiet minn inċidenti devastanti ulterjuri.
Dawn jinkludu l-qtil tal-adoloxxenti Jack u Jennifer Edwards, li kienu sparati minn missierhom John Edwards fl-2018; il-qtil ta' Hannah Clarke u t-tliet uliedha żgħar, li l-karozza tagħhom inħarqet minn żewġha mbiegħda Rowan Baxter fl-2020; u l-qtil tas-sena l-oħra taż-żagħżugħa Lilie James minn Paul Thijssen, li magħha hija kellha relazzjoni qasira.
Għalhekk filwaqt li l-mewġa reċenti ta’ vjolenza kontra n-nisa applikat pressjoni fuq il-gvernijiet statali u federali biex jagħmlu aktar, is-sejħa tal-Prim Ministru Anthony Albanese għall-bidla fis-soċjetà kollha hija familjari b’mod allarmanti.
Hekk ukoll huma tħassib ieħor. Nuqqas ta’ appoġġ għas-saħħa mentali, approċċi tal-pulizija storikament inadegwati għall-ilmenti ta’ vjolenza domestika, u r-rappreżentazzjoni żejda ta’ Awstraljani Indiġeni kemm bħala awturi kif ukoll vittmi ta’ vjolenza fil-familja huma biss tlieta mill-kwistjonijiet li jqumu għal darb’oħra.
""Fl-aħħar tal-ġurnata, l-edukazzjoni taż-żgħażagħ u dan il-programm li jidħol fl-iskejjel huwa biċċa waħda minn puzzle kbir ħafna,"" tgħid Tara Gleig. ""Biex tkun tista' tagħmel bidla u [tagħmel] dik il-kultura ġenerazzjonali, bidla fis-soċjetà, trid tkun approċċ kollaborattiv.""
Taħt il-floodlights ta’ grawnd tal-futbol tar-Regoli Awstraljan kiesaħ Fis-subborgi ta’ ġewwa ta’ Melbourne, programm komunitarju ieħor qed jipprova jagħmel dan. Iridu jinjettaw bidla fil-porzjon forsi l-aktar tradizzjonalment macho tas-soċjetà Awstraljana - il-qasam sportiv.
Matthew Holmes f'ritratt f'klabb tal-futbol tar-Regoli Awstraljan
Matthew Holmes huwa wieħed mill-plejers li qed igawdu minn kultura li qed tinbidel fil-klabb ta' West Brunswick
“Jien kont nilgħab il-footy minn meta kont żgħir,” jgħid Matthew Holmes, li fl-età ta’ 38 sena sema’ ħafna jitkellmu dwar il-locker room. ""Jien kont f'timijiet fejn kien blokey ħafna - li fih innifsu kien tajjeb - iżda kellu t-tendenza li jiddevolva, speċjalment ladarba tkun involut l-alkoħol.""
Huwa ferm aktar ferħan li issa qed jilgħab ma’ West Brunswick, klabb li ilu kważi seklu iżda li seba’ snin ilu nieda tim tan-nisa, u laħaq id-domanda tal-plejers nisa. Il-bidla bil-mod, u deliberatament ħafna, bidlet il-kultura hemmhekk.
Qed jinbnew kmamar tat-tibdil ġodda biex ikunu aktar inklużivi, u ġabu wkoll xi għajnuna minn barra.
“Ħafna nisa u nies b’diversi sessi qed jixtiequ jilagħbu sport u qed jidħlu f’klabbs li huma tradizzjonalment iddominati mill-irġiel,” jgħid Dominic Alford ta’ Relationships Australia Victoria, li l-inizjattiva tiegħu Healthy Clubs qed tipprova tindirizza l-vjolenza tal-ġeneru permezz tal-isport.
""Hija daqsxejn ta' sfida għal dawk il-klabbs li jagħmlu l-bidla biex jinkludu dawk in-nies. Nitkellmu dwar relazzjonijiet ta' rispett u bini ta' reżiljenza sabiex ikunu jistgħu joħorġu u jkollhom dawk il-konversazzjonijiet ma' xulxin fil-klabbs sportivi tagħhom iżda wkoll fil-ħajja personali tagħhom u fil-komunità tagħhom”.
Jgħid li l-aħħar ġimgħat ta’ aħbarijiet dwar il-qtil ta’ profil għoli ta’ nisa fl-Awstralja raw daqqa ta’ mistoqsijiet minn klabbs sportivi u wkoll mill-postijiet tax-xogħol.
Kristy de Pellegrini
Kristy de Pellegrini tilgħab ukoll f’West Brunswick
Hija personali ħafna għal Kristy de Pellegrini, li tiftakar iż-żgħir tagħha madwar il-klabbs tal-futbol. ""Aħna lgħabna netball u mexxa l-canteen u għamilna l-impjiegi l-oħra kollha madwar il-post. Il-guys ltqajna jilagħbu footy u dak kien."" Issa tilgħab għal wieħed mit-tliet timijiet tan-nisa tal-West Brunswick.
Sieħbu Nahkita Wolfe ta’ 11-il sena qalulha li kellha tieqaf tilgħab il-futbol tar-Regoli Awstraljani għax kienet tifla.
""Il-kultura Awstraljana u l-identità Awstraljana huma hekk definiti mill-isport,"" tgħid. ""Hija xi ħaġa li tgħaqqadna, hija xi ħaġa li tgħaqqadna, iżda madankollu... għal nofs il-popolazzjoni ħafna drabi ma nkunux milqugħa f'dawk il-komunitajiet u dan ovvjament huwa tassew ta' dwejjaq.""
Huwa kasm li jilgħab fi problema ħafna akbar.
""Int titkellem ma 'kwalunkwe mara, inkunu nistgħu ngħidulek dwar esperjenzi ta' attakk sesswali, vjolenza domestika, affarijiet differenti li esperjenzaw u jien mhux eċċezzjoni,"" tgħid Nahkita.
""Ħafna mill-esperjenzi li kelli kienu relatati ma' rġiel li setgħu jaħarbu minnha, għax dejjem setgħu joħorġu minn kollox għax huma tajbin fl-isport.""
Nahkita Wolfe
Nahkita Wolfe issa qed jerġa’ jilgħab il-futbol tar-Regoli Awstraljani – wara li qalulhom biex tieqaf ta’ 11-il sena
Il-bidla kienet bil-mod - iżda hemm moviment.
“Żgur li kien hemm xi kummenti li f’dawn il-jiem ma tibqax tgħaddi – affarijiet bħal ‘il-bniet ma jistgħux tilgħab il-footy’ jew ‘int tilgħab bħal tfajla’” jgħid Conor Fowler ta’ 26 sena, li ilu jilgħab l-Awstraljan. Jirregola l-futbol minn meta kien tifel.
""In-nies qed [issa] jistaqsu mistoqsija meta jistgħu jisimgħu xi ħaġa - allura xi tfisser b'dan? U sempliċement mistoqsija sempliċi bħal dik iġġiegħel lin-nies jirriflettu fuq dak li qalu.""
Filwaqt li din il-mewġa reċenti ta’ vjolenza ġabet lin-nies jaħsbu dwar kif issolvi l-problema, dawk li jaħdmu fl-ispazju tal-vjolenza tal-ġeneru jgħidu li proġetti ffinanzjati mill-gvern mhumiex kura għal kollox.
""Il-flus huma dejjem importanti iżda din hija kwistjoni ta' kulħadd,"" jgħid il-Kuntistabbli Anzjan tal-Punent. ""Jekk kulħadd jagħti s-sehem tiegħu ma jimpurtax kemm jintefgħu flus fuqha - jekk ilkoll naħdmu fuq dan flimkien se nagħmlu differenza. L-ebda flus ma jista' jsolvi problema li mhux biżżejjed nies qed jieħdu u kampjonat.""
Rappurtaġġ addizzjonali minn Simon Atkinson
https://www.bbc.com/news/world-australia-68989354
—
L-Amazon Deals tal-lum (Afljat) - https://amzn.to/3FeoGyg
Li ssir Kattoliku jagħtik pedament sod għad-destin etern tiegħek. Il-fidi Kattolika tirrappreżenta l-aktar sistema ta’ ideat kumplessa, konsistenti u kompleta fost il-filosofiji kollha tal-umanità li jikkompetu. Huwa katidral veru tal-ħsieb uman. Il-Knisja Kattolika tgħallem li Alla tant iħobbna li bagħat lil Ibnu l-waħdieni biex imut għal dnubietna u jqum mill-ġdid għas-salvazzjoni tagħna. Billi nemmnu f’Ġesù Kristu bħala l-Mulej u s-Salvatur tagħna, nistgħu nirċievu l-grazzja t’Alla u ngħixu miegħu għal dejjem fis-sema. - https://www.vaticannews.va/en.html
Radio Maria Greater China (Mainland China, Hong Kong, Macau, Taiwan) - http://www.voiceofmary.org.mo/ - “Radio Maria huwa rigal mill-Madonna. Permezz tal-programmazzjoni, kull prodott editorjali, u l-attivitajiet kollha tagħna, irridu nkunu radju ta’ talb u evanġelizzazzjoni b’impronta Marjana qawwija u sejħa għall-konverżjoni.” (Fr. Livio)
Radju Marija jwieġeb għall-istedina kontinwa ta’ Ġesù: “Mur fid-dinja kollha u ħabbar l-Evanġelju lil kull ħlejqa” (Mk 16:15).
It-temi ewlenin tal-ipprogrammar tagħna huma:
Talb;
Is-sejħa għall-konverżjoni;
Evanġelizzazzjoni;
Formazzjoni umana u soċjali;
Aħbarijiet mill-Knisja u mis-soċjetà.
VisitMalta: Ikseb l-informazzjoni kollha li għandek bżonn għall-vjaġġ tiegħek lejn Malta! Ibbukkja biljetti, skopri postijiet ġodda biex iżżur, sib affarijiet aqwa x'tagħmel u aktar! - https://www.visitmalta.com/
Ċaħda ta' responsabbiltà: Dan is-sit huwa għal skopijiet informattivi biss u m'għandux jitqies parir legali [saħħa, taxxa, professjoni]. Aħna m'aħniex responsabbli għal kwalunkwe telf, ħsarat, jew obbligazzjonijiet li jistgħu jinqalgħu mill-użu ta 'dan il-blog. Dan il-blog mhux maħsub biex jissostitwixxi parir mediku professjonali. Il-fehmiet espressi f'dan il-blog jistgħu ma jkunux dawk tal-host jew tal-maniġment.
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"
"澳洲試圖從學校開始製止針對婦女的暴力行為
「那麼，我們來談談色情吧，」伊森·韋斯特對澳洲青少年的課堂說。大多數看起來都有點尷尬。一切都異常安靜。
“有沒有色情影片以演員談論感情或同意的關係開始？”他繼續。更多的沉默。
在雪梨北部的凱利維爾高中，這只是 15 歲孩子們今天要進行的一場棘手的對話。
從性別歧視笑話和強制控製到性侵犯和嫉妒引發的殘酷攻擊——國家慈善機構 Napcan 向數千名學生提供的 Love Bites 計劃沒有太多限制。
「尊重關係教育」這個標題聽起來有點平淡。但它是在這個被貼上「國家危機」標籤的國家針對婦女的暴力行為的背景下提出的。其核心是：試圖改變促成這種文化的態度和行為。
上個月，雪梨Bondi Junction 購物中心發生了備受矚目的六人暗殺案，警方表示，襲擊者喬爾·考奇(Joel Cauchi) 的目標似乎「明顯」是針對女性，這讓這一問題變得更加引人注目。
此後一個月內，至少有三名澳洲女性被謀殺，據稱是被伴侶或前任謀殺。
據負責「清點女性死亡人數」計畫的「摧毀聯合組織」稱，今年迄今為止，澳洲已有 28 名女性遭到暴力殺害。去年同期為 15。
2023 年，64 名女性被她們認識的人殺害。英國這個人口是其兩倍以上的國家，根據英國「清點死亡女性」計畫的數據，這一數字為 100 人。
兩週前，澳洲各地數萬人參加遊行，呼籲宣布性別暴力進入國家緊急狀態。
希里亞
Shriya 參加了在雪梨北部的高中舉辦的研討會
「對於一個在澳洲長大的年輕女性來說，知道這些事情正在發生是很可怕的，」學生施裡亞說。 「平等」、「蕩婦——羞辱」和「發送不需要的裸照」。
他們被要求將這些短語沿著地板上的一排膠帶貼上——一端貼上「尊重和同意文化」的標籤，另一端貼上「暴力和虐待文化」的標籤。
「把今天這句話看作是你直覺的隱喻，」幫助經營 Love Bites 的學生支援官員 Tara Gleig 說。 “當出現問題時，你的身體會告訴你。我希望你能夠知道問題出在哪裡。”
作為新南威爾斯州警察局的高級警員，伊森·韋斯特接聽家庭暴力電話的經歷讓他想要解決他所說的「流行病」。
伊森·韋斯特
高級警員伊森‧韋斯特 (Ethan West) 表示，共同努力將會帶來改變
「在澳大利亞，每兩分鐘就有警察接到電話處理家庭暴力情況，」他說。而他認為，對年輕一代來說，家庭暴力已經上了一個「新戰場」。
「一切都在網路上——有跟蹤、騷擾。人際關係的許多問題都是發送親密圖像。年輕人總是分享裸照。這段關係可能會結束，然後被分享給其他人。這是家庭暴力罪行。 」
對於一年前參加 Love Bites 的 16 歲女孩 Kya 來說，在澳洲長大讓她「緊張不安」——不僅是暴力威脅，還有性別歧視笑話的微侵犯，以及她感覺自己不受重視的感覺比她班上和社區裡的男孩還要多。
「社會有很多新的進步，但這仍然是正在發生的事情，」她說。 “有人發表性別歧視評論，但其實要擺脫它並不難。”
她認為她所在年級的更多男孩需要“站出來”，儘管有些男孩顯然致力於做得更多。
以賽亞
伊扎亞表示，了解關係暴力是“澳洲青少年成長的重要組成部分”
「身為一個男人，我覺得需要變得更有男子氣概，更堅強，」伊札亞說，他是我們觀察到的會議中最健談的男孩。
“關係暴力非常嚴重。了解它是澳大利亞青少年成長過程中非常重要的一部分。”
然而改變卻很難實現。 10年前，羅西·巴蒂的兒子盧克被父親格雷格·安德森殺害。巴蒂女士後來成為該國反對家庭暴力的頂級活動家之一，但全國性的討論經常因進一步的破壞性事件而重新引發。
其中包括青少年傑克愛德華茲 (Jack Edwards) 和珍妮佛愛德華茲 (Jennifer Edwards) 於 2018 年被父親約翰愛德華茲 (John Edwards) 槍殺的謀殺案； 2020 年，漢娜·克拉克 (Hannah Clarke) 和她的三個孩子被殺害，她們的汽車被她分居的丈夫羅恩·巴克斯特 (Rowan Baxter) 縱火焚燒；去年，年輕女子莉莉詹姆斯 (Lilie James) 被保羅泰森 (Paul Thijssen) 謀殺，她與保羅泰森 (Paul Thijssen) 曾有過一段短暫的關係。
因此，儘管最近針對婦女的暴力浪潮給州和聯邦政府施加了壓力，要求他們採取更多行動，但總理安東尼·阿爾巴內斯呼籲全社會進行變革的呼籲卻令人震驚地熟悉。
其他問題也是如此。缺乏心理健康支持、警方處理家庭暴力投訴的方式歷來不足，以及澳洲原住民作為家庭暴力的施暴者和受害者的比例過高，只是一再出現的三個問題。
「歸根結底，教育年輕人和進入學校的這個計畫是一個非常非常大的難題的一部分，」塔拉·格萊格說。 “為了能夠做出改變並實現代際文化和社會變革，必須採取協作的方式。”
在墨爾本內郊寒冷的澳洲規則足球場的泛光燈下，另一個社區計畫正試圖做到這一點。他們希望為澳洲社會中最具傳統男子氣概的部分——運動場注入改變。
馬修·霍姆斯在澳洲規則足球俱樂部合影
馬修·霍姆斯是西不倫瑞克俱樂部享受不斷變化的文化的球員之一
「我從小就踢足球，」38 歲的馬修·霍姆斯 (Matthew Holmes) 說道，他聽過很多更衣室裡的談話。 “我所在的團隊都非常混亂——這本身並沒有什麼問題——但這種情況確實會惡化，尤其是當你喝酒的時候。”
他很高興現在能在西布倫瑞克隊踢球，這傢俱樂部已有近一個世紀的歷史，但七年前成立了一支女隊，以滿足女性球員的需求。這種改變慢慢地、非常刻意地改變了那裡的文化。
新的更衣室正在建設中，以更具包容性，他們還引入了一些外部幫助。
澳洲維多利亞州關係協會的多米尼克·奧爾福德表示：「許多女性和不同性別的人都想參加體育運動，她們正在進入傳統上以男性為主的俱樂部。」澳洲維多利亞州關係協會的健康俱樂部該計劃正試圖透過體育來解決性別暴力問題。
「對於這些俱樂部來說，要做出轉變以包容這些人是一個挑戰。我們談論尊重的關係和建立適應力，這樣他們就可以出去在他們的體育俱樂部中相互交談，也可以在他們的個人生活中和在他們的社區。
他說，過去幾週有關澳洲女性被殺事件的頭條新聞引起了體育俱樂部和工作場所的大量詢問。
克里斯蒂·德·佩里格里尼
克里斯蒂·德·佩里格里尼也在西不倫瑞克踢球
這對克里斯蒂·德·佩里格里尼來說是非常私人的事情，她還記得自己年輕時在足球俱樂部度過的時光。 “我們打無板籃球，經營食堂，並做周圍的所有其他工作。這些人必須踢足球，僅此而已。”現在她為西不倫瑞克三支女子球隊之一效力。
隊友納希塔沃爾夫 (Nahkita Wolfe) 11 歲時被告知，她必須停止參加澳式足球，因為她是個女孩。
「澳洲文化和澳洲身份是由體育定義的，」她說。 「這是將我們團結在一起的東西，是將我們聚集在一起的東西，但是......對於一半的人口來說，我們經常不受歡迎進入這些社區，這顯然非常令人痛苦。 」
這是一個鴻溝，卻會引發一個更大的問題。
「你幾乎可以和任何女性交談，我們就能告訴你性侵犯、家庭暴力的經歷，以及她們經歷過的不同事情，我也不例外，」納希塔說。
“我的許多經歷都與那些能夠逃脫懲罰的男人有關，因為他們總是能夠逃脫一切懲罰，因為他們擅長運動。”
納希塔·沃爾夫
納希塔沃爾夫 (Nahkita Wolfe) 在 11 歲時被告知停止踢球後，現在再次參加澳式足球比賽
變化雖然緩慢，但正在改變。
26 歲的康納·福勒(Conor Fowler) 一直在澳大利亞踢球，他說：“現在肯定有一些評論是你不會再走過的——比如'女孩不能踢足球'或'你踢得像個女孩'。
“人們現在可能會聽到一些東西，但他們會問一個問題 - 那麼你這是什麼意思？只是這樣一個簡單的問題就會讓人們反思他們所說的話。”
雖然最近一波的暴力事件讓人們思考如何解決這個問題，但從事性別暴力領域工作的人士表示，政府資助的計畫並不是萬靈藥。
「錢總是很重要，但這是每個人的問題，」高級警官韋斯特說。 “如果每個人都發揮自己的作用，投入多少錢並不重要——如果我們共同努力，我們就會有所作為。沒有錢可以解決沒有足夠多的人解決的問題並冠軍。”
西蒙·阿特金森的補充報道
https://www.bbc.com/news/world-australia-68989354
—
今日亞馬遜優惠（聯盟）- https://amzn.to/3FeoGyg
成為天主教徒將為您永恆的命運奠定堅實的基礎。天主教信仰代表了人類所有相互競爭的哲學中最複雜、最一致、最完整的思想體系。這是名副其實的人類思想大教堂。天主教會教導說，上帝如此愛我們，以至於祂派遣祂的獨生子為我們的罪而死，並為我們的救贖而復活。透過相信耶穌基督為我們的主和救主，我們可以接受神的恩典並與祂永遠生活在天堂裡。 - https://www.vaticannews.va/en.html
瑪麗亞電台大中華區（中國大陸、香港、澳門、台灣） - http://www.voiceofmary.org.mo/ - 「瑪麗亞電台是聖母的禮物。透過節目編排、每一份社論產品以及我們所有的活動，我們必須成為帶有強烈瑪麗亞印記並呼籲皈依的祈禱和福傳電台。 （利維奧神父）
瑪麗亞廣播電台回應耶穌不斷的邀請：「你們往普天下去，向萬民傳福音」（谷16:15）。
我們節目的主題是：
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呼籲轉變；
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來自教會和社會的新聞。
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"
"澳大利亚试图从学校开始制止针对妇女的暴力行为
“那么，我们来谈谈色情吧，”伊森·韦斯特对澳大利亚青少年的课堂说。大多数看起来都有点尴尬。一切都异常安静。
“有没有色情视频以演员谈论感情或同意的关系开始？”他继续。更多的沉默。
在悉尼北部的凯利维尔高中，这只是 15 岁孩子们今天要进行的一场棘手的对话。
从性别歧视笑话和强制控制到性侵犯和嫉妒引发的残酷攻击——国家慈善机构 Napcan 向数千名学生提供的 Love Bites 计划没有太多限制。
“尊重关系教育”这个标题听起来有点平淡。但它是在这个被贴上“国家危机”标签的国家针对妇女的暴力行为的背景下提出的。其核心是：试图改变促成这种文化的态度和行为。
上个月，悉尼 Bondi Junction 购物中心发生了备受瞩目的六人刺杀案，警方表示，袭击者乔尔·考奇 (Joel Cauchi) 的目标似乎“明显”是针对女性，这让这一问题变得更加引人注目。
此后一个月内，至少三名澳大利亚女性被谋杀，据称是被伴侣或前任谋杀。
据负责“清点女性死亡人数”项目的“摧毁联合组织”称，今年迄今为止，澳大利亚已有 28 名女性遭到暴力杀害。去年同期为 15。
2023 年，64 名女性被她们认识的人杀害。英国这个人口是其两倍以上的国家，根据英国“清点死亡女性”项目的数据，这一数字为 100 人。
两周前，澳大利亚各地数万人参加游行，呼吁宣布性别暴力进入国家紧急状态。
希里亚
Shriya 参加了在悉尼北部的高中举办的研讨会
“对于一个在澳大利亚长大的年轻女性来说，知道这些事情正在发生是很可怕的，”学生施里亚说。她在教室后面专心地听着，因为小组收到了一些小卡片，上面写着“平等”、“荡妇——羞辱”和“发送不需要的裸照”。
他们被要求将这些短语沿着地板上的一排胶带贴上——一端贴上“尊重和同意文化”的标签，另一端贴上“暴力和虐待文化”的标签。
“把今天这句话看作是你直觉的隐喻，”帮助运营 Love Bites 的学生支持官员塔拉·格莱格 (Tara Gleig) 说。 “当出现问题时，你的身体会告诉你。我希望你能够知道问题出在哪里。”
作为新南威尔士州警察局的一名高级警员，伊森·韦斯特接听家庭暴力电话的经历让他想要解决他所说的“流行病”。
伊森·韦斯特
高级警员伊森·韦斯特 (Ethan West) 表示，共同努力将会带来改变
“在澳大利亚，每两分钟就有警察接到电话处理家庭暴力情况，”他说。而他认为，对于年轻一代来说，家庭暴力已经上了一个“新战场”。
“一切都在网上——有跟踪、骚扰。人际关系的很多问题都是发送亲密图像。年轻人总是分享裸照。这段关系可能会结束，然后被分享给其他人。这是家庭暴力罪行。”
对于一年前参加 Love Bites 的 16 岁女孩 Kya 来说，在澳大利亚长大让她“紧张不安”——不仅是暴力威胁，还有性别歧视笑话的微侵犯，以及她感觉自己不受重视的感觉比她班上和社区里的男孩还要多。
“社会有很多新的进步，但这仍然是正在发生的事情，”她说。 “有人发表性别歧视评论，但其实要摆脱它并不难。”
她认为她所在年级的更多男孩需要“站出来”，尽管有些男孩显然致力于做得更多。
以赛亚
伊扎亚表示，了解关系暴力是“澳大利亚青少年成长的重要组成部分”
“作为一个男人，我觉得需要变得更有男子气概，更坚强，”伊扎亚说，他是我们观察到的会议中最健谈的男孩。
“关系暴力非常严重。了解它是澳大利亚青少年成长过程中非常重要的一部分。”
然而改变却很难实现。 10年前，罗西·巴蒂的儿子卢克被父亲格雷格·安德森杀害。巴蒂女士后来成为该国反对家庭暴力的顶级活动家之一，但全国性的讨论经常因进一步的破坏性事件而重新引发。
其中包括青少年杰克·爱德华兹 (Jack Edwards) 和詹妮弗·爱德华兹 (Jennifer Edwards) 于 2018 年被父亲约翰·爱德华兹 (John Edwards) 枪杀的谋杀案； 2020 年，汉娜·克拉克 (Hannah Clarke) 和她的三个孩子被杀害，她们的汽车被她分居的丈夫罗恩·巴克斯特 (Rowan Baxter) 纵火焚烧；去年，年轻女子莉莉·詹姆斯 (Lilie James) 被保罗·泰森 (Paul Thijssen) 谋杀，她与保罗·泰森 (Paul Thijssen) 曾有过一段短暂的关系。
因此，尽管最近针对妇女的暴力浪潮给州和联邦政府施加了压力，要求他们采取更多行动，但总理安东尼·阿尔巴内斯呼吁全社会进行变革的呼吁却令人震惊地熟悉。
其他问题也是如此。缺乏心理健康支持、警方处理家庭暴力投诉的方式历来不足，以及澳大利亚原住民作为家庭暴力的施暴者和受害者的比例过高，只是一再出现的三个问题。
“归根结底，教育年轻人和进入学校的这个项目是一个非常非常大的难题的一部分，”塔拉·格莱格说。 “为了能够做出改变并实现代际文化和社会变革，必须采取协作的方式。”
在墨尔本内郊寒冷的澳大利亚规则足球场的泛光灯下，另一个社区项目正试图做到这一点。他们希望为澳大利亚社会中最具传统男子气概的部分——运动场注入变革。
马修·霍姆斯在澳大利亚规则足球俱乐部合影
马修·霍姆斯是西不伦瑞克俱乐部享受不断变化的文化的球员之一
“我从小就踢足球，”38 岁的马修·霍姆斯 (Matthew Holmes) 说道，他听过很多更衣室里的谈话。 “我所在的团队都非常混乱——这本身并没有什么问题——但这种情况确实会恶化，尤其是当你喝酒的时候。”
他很高兴现在能在西布伦瑞克队踢球，这家具乐部已有近一个世纪的历史，但七年前成立了一支女队，以满足女性球员的需求。这种变化慢慢地、非常刻意地改变了那里的文化。
新的更衣室正在建设中，以更具包容性，他们还引入了一些外部帮助。
澳大利亚维多利亚州关系协会的多米尼克·奥尔福德表示：“许多女性和不同性别的人都想参加体育运动，她们正在进入传统上以男性为主的俱乐部。”澳大利亚维多利亚州关系协会的健康俱乐部计划正试图通过体育来解决性别暴力问题。
“对于这些俱乐部来说，要做出转变以包容这些人是一个挑战。我们谈论尊重的关系和建立适应力，这样他们就可以出去在他们的体育俱乐部中相互交谈，也可以在他们的个人生活中和在他们的社区。”
他说，过去几周有关澳大利亚女性被杀事件的头条新闻引起了体育俱乐部和工作场所的大量询问。
克里斯蒂·德·佩里格里尼
克里斯蒂·德·佩里格里尼也在西不伦瑞克踢球
这对于克里斯蒂·德·佩里格里尼来说是非常私人的事情，她还记得自己年轻时在足球俱乐部度过的时光。 “我们打无板篮球，经营食堂，并做周围的所有其他工作。这些人必须踢足球，仅此而已。”现在她为西不伦瑞克三支女子球队之一效力。
队友纳希塔·沃尔夫 (Nahkita Wolfe) 11 岁时被告知，她必须停止参加澳式足球，因为她是个女孩。
“澳大利亚文化和澳大利亚身份是由体育定义的，”她说。 “这是将我们团结在一起的东西，是将我们聚集在一起的东西，但是......对于一半的人口来说，我们经常不受欢迎进入这些社区，这显然非常令人痛苦。”
这是一个鸿沟，却会引发一个更大的问题。
“你几乎可以和任何女性交谈，我们就能告诉你性侵犯、家庭暴力的经历，以及她们经历过的不同事情，我也不例外，”纳希塔说。
“我的很多经历都与那些能够逃脱惩罚的男人有关，因为他们总是能够逃脱一切惩罚，因为他们擅长运动。”
纳希塔·沃尔夫
纳希塔·沃尔夫 (Nahkita Wolfe) 在 11 岁时被告知停止踢球后，现在再次参加澳式足球比赛
变化虽然缓慢，但正在发生变化。
26 岁的康纳·福勒 (Conor Fowler) 一直在澳大利亚踢球，他说：“现在肯定有一些评论是你不会再走过的——比如‘女孩不能踢足球’或‘你踢得像个女孩’。”他从小就统治足球。
“人们现在可能会听到一些东西，但他们会问一个问题 - 那么你这是什么意思？只是这样一个简单的问题就会让人们反思他们所说的话。”
虽然最近的一波暴力事件让人们思考如何解决这个问题，但从事性别暴力领域工作的人士表示，政府资助的项目并不是万能药。
“钱总是很重要，但这是每个人的问题，”高级警官韦斯特说。 “如果每个人都发挥自己的作用，投入多少钱并不重要——如果我们共同努力，我们就会有所作为。没有钱可以解决没有足够多的人解决的问题并冠军。”
西蒙·阿特金森的补充报道
https://www.bbc.com/news/world-australia-68989354
—
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There it was, on the table in Nicola Coughlan’s apartment — a microscopic undergarment that loomed large in the actor’s mind.
The “Bridgerton” costume department had sent Coughlan home with a piece of intimacy wear that was essentially a strapless thong that would cover the bare essentials of her body during an upcoming love scene.
It would be her first time ever acting in such a scene, in a series known globally for its sexy yet empowering bedroom romps, and it would require her to be almost totally naked in front of people she’d worked with for years. Coughlan was understandably terrified. One night, she poured herself a margarita and summoned the liquid courage to try on the tiny sliver of fabric.
“I went to the bathroom and looked in the full-length mirror. I was like, ‘Absolutely not.’ I hid it down the bottom of the laundry basket,” Coughlan recalled on a cold morning in January at Netflix’s offices in Manhattan. “I was like, ‘How am I going to do this?’”
Coughlan eventually got over her nerves. Much to her surprise, she found the process of filming the scenes with her co-star Luke Newton creatively satisfying — liberating, even. “By the end of the day, we were both lying under a blanket, not clothed, just chillin’. We were like, ‘This is why nudists do it,’” said Coughlan, who speaks in a rapid, melodious accent that only adds to her natural exuberance.
While discussing the arc of her career, she goes on joyful digressions, praising everything from Mrs. Renfro’s salsa to Ryan Gosling’s performance in the forgotten teen series “Breaker High” to “Saturday Night Live,” which she’s just attended for the third time and hopes to host one day (are you listening, Lorne Michaels?).
She is nothing if not enthusiastic, and she brings this level of passion to Season 3 of “Bridgerton,” the first half of which will return to Netflix on Thursday. Until now, her character, Penelope Featherington, has been content to be a wallflower in the ballrooms of Regency London, allowing her to observe and secretly write a society scandal sheet under the pseudonym Lady Whistledown.
But this season will focus on Penelope as she — spoiler alert — consummates her long-simmering crush on Colin Bridgerton (Newton) in a friends-to-lovers storyline with distinct rom-com overtones. Penelope’s move into the center of the narrative also meant that Coughlan faced new pressures as the lead in one of the most watched and dissected shows on Netflix.
“With Penelope this season, it felt like there were so many things that were reflected in real life. The whole theme of her stepping out of the shadows and into the light, and not feeling quite ready — I felt like I had to do that,” said Coughlan.
“It was really challenging. It was terrifying. It was cathartic. It was a million and one things,” she added. “I loved it.”
She juggled “Bridgerton” with an edgy turn in “Big Mood,” a “Fleabag”-esque dark comedy released last month on Tubi. On top of that, she also had a small role in the biggest box office hit of 2023, “Barbie” — she wanted to do more but, alas, her schedule was too packed — and filmed a guest appearance in the “Doctor Who” Christmas special to be released later this year.
It amounts to a long-simmering breakout moment for Coughlan, who is 37 but thanks to a preternaturally dewy complexion often plays characters who are much younger than she is, like a Catholic high school student in the Troubles-themed sitcom “Derry Girls.”
“It was very exciting to play grown women. But I was like, ‘Can I do that?’ Even in drama school, they would always cast me as the random kid, like, there was an Ibsen play called ‘Little Eyolf,’ and I had to play Eyolf. I was like, ‘This is gonna be me forever.’”
Raised in County Galway on the western coast of Ireland, she grew up liking whatever her older siblings were into — whether it was Nirvana or “Wayne’s World.” When her sister starred in the school play, Coughlan showed up in a sequined vest, looking like a little Liza Minnelli — as if she knew she also wanted to be onstage. (She still has a taste for eccentric glamour: Despite the wintry gloom, she’s decked out in a gold spangled dress and a cloud-like ruffled bolero.)
At age 9, she scored her first professional gig, a movie called “My Brother’s War” starring James Brolin. She got the day off from school, but she wanted more. “I used to look at the Olsen twins. I was like, ‘God, look, look at where they are,’” she joked. As a teenager, she did regular voice work in cartoons. Her father, who was in the Irish army (as a teenage cadet, he took part in U.S. President Kennedy’s funeral in 1963), and mother, a stay-at-home parent, were supportive but also baffled by their youngest child’s dramatic streak. “It’s really not in my family at all,” Coughlan said.
After graduating from the National University of Ireland Galway, Coughlan enrolled in a foundational course at the Oxford School of Drama in England, where she quickly bonded with fellow student Camilla Whitehill.
“We were the only people there that really cared about things being funny,” said Whitehill, a playwright who would go on to create “Big Mood” as a vehicle for her old drama school friend. “Everyone else just wanted to do plays where their family had died, or whatever.”
There it was, on the table in Nicola Coughlan’s apartment — a microscopic undergarment that loomed large in the actor’s mind.
The “Bridgerton” costume department had sent Coughlan home with a piece of intimacy wear that was essentially a strapless thong that would cover the bare essentials of her body during an upcoming love scene.
It would be her first time ever acting in such a scene, in a series known globally for its sexy yet empowering bedroom romps, and it would require her to be almost totally naked in front of people she’d worked with for years. Coughlan was understandably terrified. One night, she poured herself a margarita and summoned the liquid courage to try on the tiny sliver of fabric.
“I went to the bathroom and looked in the full-length mirror. I was like, ‘Absolutely not.’ I hid it down the bottom of the laundry basket,” Coughlan recalled on a cold morning in January at Netflix’s offices in Manhattan. “I was like, ‘How am I going to do this?’”
Coughlan eventually got over her nerves. Much to her surprise, she found the process of filming the scenes with her co-star Luke Newton creatively satisfying — liberating, even. “By the end of the day, we were both lying under a blanket, not clothed, just chillin’. We were like, ‘This is why nudists do it,’” said Coughlan, who speaks in a rapid, melodious accent that only adds to her natural exuberance.
While discussing the arc of her career, she goes on joyful digressions, praising everything from Mrs. Renfro’s salsa to Ryan Gosling’s performance in the forgotten teen series “Breaker High” to “Saturday Night Live,” which she’s just attended for the third time and hopes to host one day (are you listening, Lorne Michaels?).
Luke Newton and Nicola Coughlan hold champagne glasses on "Bridgerton."
Colin Bridgerton (Luke Newton) and Penelope Featherington (Nicola Coughlan) go from friends to lovers in Season 3 of “Bridgerton.” (Liam Daniel / Netflix)
She is nothing if not enthusiastic, and she brings this level of passion to Season 3 of “Bridgerton,” the first half of which will return to Netflix on Thursday. Until now, her character, Penelope Featherington, has been content to be a wallflower in the ballrooms of Regency London, allowing her to observe and secretly write a society scandal sheet under the pseudonym Lady Whistledown.
But this season will focus on Penelope as she — spoiler alert — consummates her long-simmering crush on Colin Bridgerton (Newton) in a friends-to-lovers storyline with distinct rom-com overtones. Penelope’s move into the center of the narrative also meant that Coughlan faced new pressures as the lead in one of the most watched and dissected shows on Netflix.
“With Penelope this season, it felt like there were so many things that were reflected in real life. The whole theme of her stepping out of the shadows and into the light, and not feeling quite ready — I felt like I had to do that,” said Coughlan.
“It was really challenging. It was terrifying. It was cathartic. It was a million and one things,” she added. “I loved it.”
She juggled “Bridgerton” with an edgy turn in “Big Mood,” a “Fleabag”-esque dark comedy released last month on Tubi. On top of that, she also had a small role in the biggest box office hit of 2023, “Barbie” — she wanted to do more but, alas, her schedule was too packed — and filmed a guest appearance in the “Doctor Who” Christmas special to be released later this year.
It amounts to a long-simmering breakout moment for Coughlan, who is 37 but thanks to a preternaturally dewy complexion often plays characters who are much younger than she is, like a Catholic high school student in the Troubles-themed sitcom “Derry Girls.”
“It was very exciting to play grown women. But I was like, ‘Can I do that?’ Even in drama school, they would always cast me as the random kid, like, there was an Ibsen play called ‘Little Eyolf,’ and I had to play Eyolf. I was like, ‘This is gonna be me forever.’”
Raised in County Galway on the western coast of Ireland, she grew up liking whatever her older siblings were into — whether it was Nirvana or “Wayne’s World.” When her sister starred in the school play, Coughlan showed up in a sequined vest, looking like a little Liza Minnelli — as if she knew she also wanted to be onstage. (She still has a taste for eccentric glamour: Despite the wintry gloom, she’s decked out in a gold spangled dress and a cloud-like ruffled bolero.)
At age 9, she scored her first professional gig, a movie called “My Brother’s War” starring James Brolin. She got the day off from school, but she wanted more. “I used to look at the Olsen twins. I was like, ‘God, look, look at where they are,’” she joked. As a teenager, she did regular voice work in cartoons. Her father, who was in the Irish army (as a teenage cadet, he took part in U.S. President Kennedy’s funeral in 1963), and mother, a stay-at-home parent, were supportive but also baffled by their youngest child’s dramatic streak. “It’s really not in my family at all,” Coughlan said.
After graduating from the National University of Ireland Galway, Coughlan enrolled in a foundational course at the Oxford School of Drama in England, where she quickly bonded with fellow student Camilla Whitehill.
“We were the only people there that really cared about things being funny,” said Whitehill, a playwright who would go on to create “Big Mood” as a vehicle for her old drama school friend. “Everyone else just wanted to do plays where their family had died, or whatever.”
Nicola Coughlan holds her fingers against her cheek. Yellow orbs float behind her.
Nicola Coughlan on playing Penelope this season: “The whole theme of her stepping out of the shadows and into the light, and not feeling quite ready — I felt like I had to do that.” (Evelyn Freja / For The Times)
Coughlan, ever the pop culture connoisseur, introduced Whitehill to the sitcom “Arrested Development.”
“She’s one of those people who, if she thinks you will like something, she will make you watch it. And she is — annoyingly — usually right,” added Whitehill. (More recently, Coughlan urged her friend to catch up on “The Real Housewives of Salt Lake City.” “It’s such an easy one to sell to people. I’m like, ‘One of them is a cult leader who’s married to her granddad; are you in or are you out?’” Coughlan said.)
They both eventually landed in London, where “neither of us was successful at all for our whole 20s,” said Whitehill, who would often cast Coughlan in “my bad unpaid short plays at pubs,” including one where Coughlan played a cat.
“You leave drama school, which is a lovely, cozy bosom where you get to do the thing you love every day. Then you go, ‘Hang on. Thousands of people leave drama school every year, and they want to do the exact job I do.’ It seems so improbable that you’ll make a living doing it,” said Coughlan. “I felt like a loser at so many points.”
One such nadir came when she was working at a frozen yogurt shop at a mall in West London and the cheap jeans she wore as part of her uniform tore “right up the butt crack.” It was sobering, she said. “I was like, ‘This is not the life I wanted.’”
By the time she was in her late 20s, she’d moved back home and was working for an optician in Galway. Then she saw a listing for an open casting call for a festival of plays being put on by the Old Vic Theatre. Even though she was broke, she flew back to London for the audition and landed a part in a play called “Jess and Joe Forever.”
It marked a turning point for Coughlan, who was soon cast as studious teen Clare Devlin in Channel 4’s “Derry Girls,” a project she was drawn to because of its vividly drawn female characters.
“They were all really distinct — young women who were ballsy and foul-mouthed,” she said. She convinced herself that the show would flop because “people hate women trying to be funny.” Instead, the show was a massive hit in the U.K. and earned a devoted following in the U.S. when it was picked up by Netflix.
Then, Shonda Rhimes came calling about “Bridgerton.” After a single audition, Coughlan was cast as Penelope, a thoughtful, sharp-witted young woman with an overbearing mother and tacky, dim-witted sisters. Season 1 was released in late 2020, when much of the world was staying home because of the COVID-19 pandemic-related closures, and it became a sensation.
Whitehill recalls going out with her friend once restrictions had lifted in the U.K. and sensing how much had shifted. “It’s such a weird, un-put-into-words-able experience to watch someone you know for such a long time become globally famous,” she said. The fact that Coughlan didn’t find success straight out of school “has grounded her significantly, which means that she doesn’t let it go to her head.”
Success has not come without complications, however, like the relentless media scrutiny around Coughlan’s physical appearance. “It’s really hard and feels [like] s—,” she said.
In 2018, she wrote an essay for the Guardian responding to a theater critic who described her character in a London production of “The Prime of Miss Jean Brodie” as “an overweight little girl.” Coughlan is determined to push back against this kind of casual body-shaming because, she said, “I grew up at a time where it was so overt. There was the circle of shame for cellulite [in magazines] — just horrific, horrific messaging.”
It’s also why this season of “Bridgerton,” which celebrates the allure of a character often overlooked as a wallflower, is so meaningful to Coughlan — and why she suspects it will resonate with so many viewers. Rhimes and showrunner Jess Brownell decided Season 3 should deviate from the timeline in Julia Quinn’s novels and focus on Penelope and Colin — a couple known to fans as “Polin.”
“We’ve watched Colin not quite understand that Penelope has a crush on him for two seasons. You can only play that dynamic out for so long before it gets frustrating,” said Brownell.
Stepping into the lead meant Coughlan would need to be on set nearly every day for eight months straight. But if she was overwhelmed at first, she didn’t let on. “She just seemed so game and ready for anything on set,” said Brownell. “If anything, I just noticed how seriously she was taking her preparation.”
Coughlan was insightful and collaborative, said Brownell, sharing an endless stream of ideas about her character in a WhatsApp group chat with Newton and Brownell. She had suggestions for specific music cues and for Penelope’s makeover, which sees her ditching her tight red poodle curls and garish citrus-hued gowns for loose waves and cool blues and greens. Coughlan is also very plugged into the fandom, and she advocated for including a scene, important to novel readers, in which Penelope calls Colin “Mr. Bridgerton.”
As if that weren’t enough, she even found time to bake fresh Irish soda bread and bring it to set.
This season is “a lot lighter and more playful than we’ve been able to be in the past,” Brownell added. The writing leans into Coughlan’s strengths as a comedic performer, particularly her knack for awkward banter, a skill she deploys as Penelope throws herself into the London social season in a bid to find a husband.
Coughlan, who enjoyed being, as she put it, “the weirdo in the background” for the first two seasons of “Bridgerton” and who idolizes women like Tina Fey, Amy Poehler and Kristen Wiig, said it was a thrill “to play Penelope as goofy and terrible with men.”
Like Coughlan, Newton was nervous about filming the love scenes but found the anxiety quickly dissipated after the first take. “We both had a similar outlook — it’s like doing comedy because you’re having to put yourself out there and feel exposed and risk something,” said Newton (who watched “Hamilton” at Coughlan’s recommendation and loved it, just as she predicted.) Because of how these moments focus on consent and emotional intimacy, “It was essential that we were friends,” he said.
The co-stars were especially heartened to hear from a burly security guard named Dave who has worked on “Bridgerton” since Season 1 and was moved by the romance he watched them act out on set.
“He came to Luke and I and said, ‘I don’t normally watch shows like this. Something about this season is very special, and I’m very proud of you,’” Coughlan recalled.
For several weeks, Coughlan was filming “Bridgerton” and “Big Mood” at the same time. She coped with the stress by watching “Vanderpump Rules” from the beginning.
“It’s a testament to how nosy I am that I heard people talking about Scandoval, had no frame of reference and was like, ‘Well, I need to know,’” said Coughlan, now a superfan who recently threw a “Vanderpump”-themed housewarming party and made a beeline to take a selfie with Ariana Madix when she was at “SNL.” It’s not just escapism: She also finds creative inspiration in reality TV personalities, channeling some of Lala Kent’s mannerisms into her character in “Big Mood.” “You forget how f— weird people are, how bizarre they can be,” she said.
In January, Coughlan had not yet seen the new season of “Bridgerton.” But by phone in early May, she said she’d finally watched the episode in which Colin and Penelope sleep together, nervously, by herself in a hotel room. Once again, the anticipation was worse than the thing itself.
“I laughed and cried and I was like, ‘Oh, my God, it’s amazing,’” she said. “They’re not titillating just to be titillating, even though we hope they are sexy. There’s so much about female pleasure and positive sexual experiences, and we don’t get enough of that onscreen.”
Coughlan has reached a bittersweet crossroads on “Bridgerton,” now that her character’s big season has wrapped and she will soon return to being “the weirdo in the background.” But she has no regrets.
“We left it all on the pitch. There’s nothing I wanted to do this season that I didn’t get to do,” she said. “And that’s a rare thing.”
Source: https://www.latimes.com/entertainment-arts/tv/story/2024-05-12/nicola-coughlan-bridgerton-season-3
It seems some people are having trouble accessing it. There's no paywall for me, and I'm in the USA.

I have an old garage that I plan to finish and turn it into a nicer garage/workshop. This will involve taking out the plywood floor that's been there for 50+ years and pour get a pad poured. My question today, however is regarding some cracks that are in the current "footings".
These cracks have probably been there for decades, as the new part of the garage was built probably in the 60s, and this is much older. The footing along this wall, and I presume the rest of the old area is only about 6" below grade. Are these cracks too large to fill prior to pouring a pad, or should I tear it out in sections and install a new footing up to the existing mudsill?
Album of cracks and exteriointerior of that wall.
If ripping out/reinstalling, how would I both form the small "stem" wall and get concrete all the way up to the bottom plate? There's not much as far as ceiling joists go to jack that wall up. I only have two 2x4's roughly 18' long functioning as rafter ties, and also supporting some lights.
Any ideas are appreciated. I am already planning on installing a new footing/stem wall along the front which currently only has two sliding doors. I'm planning on removing one of them and framing in a permanent wall in its place.

Vlad's Distressed Mistress: A New FNAF Theory....
A while ago, I came across a new perspective on a commonly overlooked part of the FNAF franchise, and I couldn’t help but not go deeper and share my findings. Plus with the advent of new FNAF content, this topic only seems to get more and more interesting.
Back in FNAF Sister Location, at the end of nearly each night, we find ourselves in what we assume to be Mike's house, where he spends some time watching a show called 'The Immortal and the Restless.' For those who may be new to the franchise, this four episode show seems to be styled after late 50's soap operas. Specifically, it is very similar in style and music to a real life soap opera called 'As The World Turns' from 1956 and also has a similar naming convention as 'The Young and the Restless' from 1973.
In Immortal, we catch a glimpse into the lives of Vlad the vampire and Clara, who are shown to be consistently on edge with each-other.
At a glance, this doesn't seem like much, but as I delved deeper I noticed many things that I have never heard or seen talked about in the FNAF community. So here it is, my notes and theories on what Scott might be trying to tell us through 'The Immortal and the Restless.'
Sources:

• The Five Nights at Freddie’s Ultimate Guide
• The Immortal and the Restless Series from FNaF Sister Location
• Five Nights at Freddie’s Fazbear Frights Book #1: Into the Pit Stitchwraith Stinger
• Five Nights at Freddie’s Security Breach
• Five Nights at Freddie’s The Movie

NOTE #1: William Afton had an Affair
As I was reading the Ultimate Guide, I came across the script for The Immortal and the Restless on pages 420 and 421. But what got me thinking wasn't what Vlad or Clara said, but it was the first lines that was spoken by the narrator.
In episodes 1 & 2 of I&R, Clara is described by the narrator as ‘Vlad’s distressed mistress…’
Immortal and the Restless: Episode 1
Narrator: Another day, another dramatic entry in the lives of Vlad and his distressed mistress!
Narrator: Will Vlad and hisdistressed mistressfind common ground? Tune in next time!
Immoral and the Restless: Episode 2
*Narrator: As the sun sets, so does another chapter in the saga of love lost between Vlad and his distressed mistress…
The fact that this phrasing was used three times got me to thinking. To start, what does the word mistress mean? According to to the official Oxford Language website, the word has two meanings;

1. A woman in a position of power or authority
2. A woman having a extramarital sexual relationship, especially with a married man.

With this in mind, I am under the impression that Vlad and Clara are NOT married. Clara does brings up a Dimond ring in episode 4: ‘Well, how’s this? Im keeping the diamond ring.’ I believe that she is most likely referring to a engagement ring, which only further cements my initial observation that these two are NOT married.
Through-out the story of I&R I find no evidence that Vlad and Clara are married. From the language used in the script to even watching the shorts closely and taking note of their hands for wedding bands. Nothing. They are referred to as ‘long lost lovers’ and ‘star-crossed lovers’, but nothing that indicated that they officially ‘tied the knot’.
With this information, I believe that Vlad had an affair with Clara and cheated on Mrs. Vlad. Then, if we are to assume that Vlad is a representation of William Afton in this story, than I believe that Willam had an affair with another woman. This is why Mrs. Afton left, sure William was probably consumed by his work with the animatronics, but the fact that he cheated on her is most likely what sent her off the edge.
NOTE #2: Child Support
As I was reading trough the I&R script again, there are a few times that the story brings up Vlad having to pay child support.
Immortal and The Restless: Episode 1
Clara: Well, then, at least pay your child support, you deadbeat!
Immortal and the Restless: Episode 4
Narrator: But what about the baby? What about the back child support?
Why would Vlad have to pay child support? If we are building off of the theory that Vlad cheated on his wife, she probably filed for divorce and demanded custody of the baby. A custody battle ensued, with Vlad coming out on top, giving us an explanation of why we see the baby with him in I&R. I then looked through-out the franchise and, wouldn’t you know it, there is a reference to a custody case in three other places.
1.Fazbear Frights Stitchwraith Stinger #1 (The Books)**
In the first Stitchwraith stinger at the end of the first Fazbear Frights book Into the Pit, we meet Detective Larson who just divorced his wife and is in the middle of a custody battle over their seven-year-old son Ryan.
2.Five Nights at Freddie’s Security Breach: Retro CD 4-7140 (A Modern Game)**
In Retro CD 4-7140, while having a session with Vanessa, the therapist brings up the fact that Vanessa’s father, Bill, ‘didn’t play fair’ when he was in a custody battle with Vanessa’s mother. Quote from the game;
Therapist: I know you do. Your supervisor notes that you follow instructions perfectly. Your dad made you follow instructions, didn’t he? I’m talking about the custody battle between your mom and your dad. Your dad didn’t play it fair, did he? He used to make your mom look bad in court.
While this snippet could be used to explain how Vanessa got to where she is in the game, I think that this has a deeper meaning that could relate to this story in I&R.
3.Five Nights at Freddie’s The Movie**
In Five Nights at Freddie’s Movie, one of the main points of the film is that Mike was *fighting for custody** of his sister Abby against their horrible aunt. It is one of, if not the main reason why Mike accepted the job at Freddie’s in the first place.
With all of this in mind, the biggest question is WHAT DOES IT MEAN? Ok, so William Afton had a custody battle, but for which child? Is it Crying Child? Is it Michael? Or is it Elizabeth? What other implications does this have on the lore overall? For that, I am still working out an answer.
Regardless, the fact that this comes up FOUR different times in multiple aspects of the franchise gives me more than enough reason to think that Scott is trying to tell us something. Now, I personally do not have open access to either the Fazbear Frights or Tales from the Pizzaplex series, so there could be a chance that there could be more cases of custody battles. For that, I reach out to you, my fellow theorists, please comment down below and let me know if there are other instances of this in the franchise.

With this new update, along with the decoration mode inside ships, they also added "Empty" versions of every hab. Here are screenshots of all of those habs
All In One A 2x1

• Nova
• Stroud
• Taiyo
• Hopetech

All In One B 2x1

• Nova
• Stroud

Armory 2x1

• Deimos
• Stroud
• Taiyo
• Nova
• Hopetech

Captains Quarters 2x1

• Deimos
• Stroud
• Taiyo
• Hopetech
• Nova

Computer Core 2x1

• Deimos
• Nova
• Stroud
• Taiyo
• Hopetech

Control Stations 2x1

• Nova
• Deimos
• Stroud
• Taiyo
• Hopetech

Infirmary 2x1

• Nova
• Deimos
• Stroud
• Taiyo
• Hopetech

Living Quarters 2x1

• Nova
• Deimos
• Stroud
• Taiyo
• Hopetech

Science Lab 2x1

• Nova
• Deimos
• Stroud
• Taiyo
• Hopetech

Workshop 2x1

• Deimos
• Nova
• Stroud
• Taiyo
• Hopetech

All in One 3x1

• Deimos
• Stroud

Engineering Bay 3x1

• Deimos
• Nova
• Hopetech
• Stroud
• Taiyo

Living Quarters 3x1

• Deimos

All in One 2x2

• Nova
• Hopetech
• Taiyo

Battle Stations 2x2

• Nova
• Deimos
• Hopetech
• Taiyo
• Stroud

Brig 2x2

• Nova
• Deimos
• Hopetech
• Taiyo
• Stroud

Cargo Hall 2x2

• Nova
• Deimos
• Hopetech
• Taiyo
• Stroud

Computer Core 2x2

• Deimos
• Hopetech
• Taiyo
• Stroud

Engineering Bay 2x2

• Deimos

Living Quarters 2x2

• Nova
• Deimos
• Stroud

Cargo Hall 2x3

• Nova
• Deimos
• Hopetech
• Stroud
• Taiyo

Mess Hall 2x3

• Nova
• Deimos
• Hopetech 2x3
• Hopetech 3x2
• Stroud
• Taiyo

Cargo Hall 3x3

• Nova
• Deimos
• Hopetech

Note: There are some odd behaviors and inconsistencies that may be fixed on or after patch day.
For example, it appears the Hopetech 2x3 Mess Hall has much brighter lighting (maybe Taiyo lighting?), where the 3x2 has the correct lighting. Or that the Deimos All In One has no empty version, while the Hopetech 2x2 All In One only exists as an empty.
On a positive note, it seems like these empty habs have way more doors than the decorated ones. It also seems to break the former "no loops" rule. I'm really hoping this is intentional, it massively opens up your ship layouts.
Bonus: A clip of me getting fully stuck in the corner of Deimos Computer Core 2x2.

Do you ever look at a passionate, creative, nerdy power couple like Matt Mercer and Marisha Ray or Clare Grant and Seth Green and think, "F***, they seem like they're having so much fun together! I would like to have a relationship like that."?
Do you find that you go a little crazy if you have not expressed your creativity or learned something new in 36-48 hours, and would like to have a personal cheerleadeco-conspirator to help inspire you and join you on the adventure?
Do you feel like you're a black sheep in the world that refuses to conform to pseudo-traditional expectations and like being around others like yourself?
If you answered yes to any or all of these questions, are currently receptive to new friendships/relationships, and potentially appreciate oxford commas - then I would like to get to know you!
About me:
39M, >6', cis PUNK (Professional Urbanite, No Kids), thriving in the Triangle area. I'm a well rounded nerd with a penchant for sci-fi/fantasy books, games, TV shows, and movies. I also enjoy working with my hands and being crafty, playing/listening to music, and discovering treasures in thrift stores and flea markets. Occasionally I bake bread or a cheesecake that has elicited more than 1 marriage proposal from those that tried it. But typically I enjoy cooking a nice Japanese curry, or having a fancy cup of coffee.
I love being inspired and inspiring others. Creativity is my drug, and it has made me one of those people that wakes up early in the morning (not a mutual requirement) without an alarm because I want to make the most of the day. I also like learning new things and gradually gathering skills and knowledge that is seemingly so eccentric but it might just keep us alive in a zombie invasion.
I definitely land in the 'alt' category appearance-wise if that is a concern you may have. I have a lot of black clothing, tattoos, and wear big dumb work boots almost every day. You by no means should feel like you have to match this aesthetic in your own choices. You be you. I just know this seems to be a big factor for some people.
Other things about me that could be deal breakers for some people so might as well get them on the table: I'm a giant - tall, broad, and currently a bit overweight (but been working on it with exciting results). I started going bald when I turned 30 (thanks parents' genes!) - I'm fine with it and keep it buzzed/shaved (but even before I started losing my hair I wore hats 90% of the time anyway). I'm not attached to my phone 24/7 - I'm just not, it's not my thing. If someone texts me I'll likely get back to them in less than an hour, but I'm pretty much never staring/looking at my phone for more than 1min at a time. This seems to be an odd deal breaker for some, but... I enjoy/prefer meeting people irl - it wouldn't have to be an immediate thing, there needs to be at least some repartee to feel comfortable with the idea. But I guess what I want to put out there is that I'm not really looking for a online only forever style of relationship. I want to go on adventures together some day, so please be open to the idea of meeting irl.
If you read all this, thank you! I hope you're having a good day today. And if this post appeals to your own desires, please drop me a message. I'm looking forward to it!

def fit_tokenizer(train_sentences, num_words, oov_token): tokenizer = Tokenizer(num_words=num_words, oov_token=oov_token) tokenizer.fit_on_texts(train_sentences) return tokenizer tokenizer = fit_tokenizer(train_sentences, NUM_WORDS, OOV_TOKEN) word_index = tokenizer.word_index print(f"Number of words in the vocabulary: {len(word_index)}\n") 

Edit: This code runs as expected. The number of words in the word_index != the number of words in the vocabulary. Now, what doesn't make sense to me is how to implement a similar functionality using TextVectorization, as Tokenizer was deprecated in an earlier release. So far, I have:

def fit_text_vectorizer(train_sentences:list, max_tokens): vectorizer = layers.TextVectorization(max_tokens=max_tokens, output_mode='int') vectorizer.adapt(train_sentences) return vectorizer vectorizer = fit_text_vectorizer(train_sentences, NUM_WORDS) vocabulary = vectorizer.get_vocabulary() word_index = {word: index for index, word in enumerate(vocabulary)} print(f"Number of words in the vocabulary: {len(vocabulary)}\n") print(f"Number of words in the word_index: {len(word_index)}") 

but the lengths are equal when the word index should be larger