#Judith from the bank

[lemonisntreal]

Them <333

This is probably the closest I'm gonna get to making a Sing OC I think lol

Anyway, yeah! I love them. Love them love them love them love them so much oml. Like their dynamic with Buster is just too perfect and I'm currently obsessed, and VERY SAD- because they don't really get a spot in the script until all the way in Chapter III. And even then, they're just kinda like "what's up? I heard that you're being a lying fuck again :D" so-

It's very much like a "I hate you but I would kill anyone who even touches a hair on your body" kind of relationship between these two maniacs. An "I'd really like to send you into orbit right now, but you're actually wholesome and just traumatized, so I'll cut you some slack- but if you tell a single soul I have a soft side, then I'm gonna choke you to death with the aforementioned cut-off slack" kind of situation. They're both insane <3

They're not truly horrible or really a villain, just incredibly blunt and strict and cold. I think. I can't decide whether or not I want them to make up with Buster or if I want to go full in on their awfulness. Who knows what they're gonna do, wOooOOo omiNoUS-

[tigresslanzhu]

What Judith From The Bank says. Buster in Sing 1: I run a bank, not a charity! Pay your rent for this theater!

What Judith means: I’m pissed off that you won’t pay! Your shows are stupid!

What Buster Hears: Now would be a good time to procrastinate further and pretend this “competition” of yours will be successful!

[heritageposts]

[...] The Zionist Left in Israel is in a limbo. On the one hand, it is ostracized by Jewish society as, at best, being naïve and, at worst, as being accused of betrayal. This is in reaction to their support for the two-state solution and the call to end the occupation. This alienation, of course, is now more acute after the events of October 7. On the other hand, they are not considered, and rightly so, genuine allies of the Palestinian liberation struggle. The Israeli Left’s biggest hope was that the Global Left, as they call it, would share the same language and attitude regarding the October 7 operation by Hamas; namely to be unconditionally behind Israel. The Israeli Left was outraged that, in the eyes of the Global Left, the Hamas operation did not absolve Israel from its past criminal policies nor did it provide Israel with a green light for its genocidal policies in the West Bank and the Gaza Strip. To their great surprise, the Global Left in its entirety was galvanized behind the call to “Stop the War” and “Free Palestine”, rather than echoing their government’s repeated response of “We support Israel’s right to defend itself”. What is most illuminating – in the dialogue the liberal Zionists have with themselves on the pages of Haaretz – is their vicious attack on any one associating colonialism with Israel. For some reason, they chose Judith Butler as the main culprit, which would leave many of us disappointed, as we devoted our careers to frame Zionism as settler colonialism, probably going back to the 1960s. In fact, today, the framing of Zionism and Israel as a settler-colonial project is a consensual issue among all the leading scholars on the Middle East, and it is rejected as an accurate paradigm only among mainstream Israeli academia. The Global Left is guilty of two ‘sins’, in the eyes of the liberal Zionists: one, it refers to Israel as a settler-colonial state and two, it provides a context for the Hamas attack on October 7.

. . . continues at Palestine Chronicles (16 Nov., 2023)

[mybeingthere]

Judith Kinghorn is a Minneapolis jewelry designer who works primarily in high karat gold, sterling silver and precious stones. Her studio is tucked away in a neighborhood in Uptown Minneapolis, where she works alongside her two assistants. She’s lived in and loved the city her whole life, and credits it with her passion for the nature-inspired designs she brings to her jewelry. Minneapolis is dotted with numerous parks and green spaces, like the greenways that run along the banks of the Mississippi, and only a short drive from prairies, forests, and floodplains. With all that inspiration at hand, she brings nature back into her corner of the city.

[autisticadvocacy]

"Keeping people out of guardianship in the first place is the single most important thing to do, because once you’re in it, it’s the toilet you get flushed down."

[naeices]

A Toast In Tartosa | Meet Ravi Nitin

Name: Ravi Nitin Age: 27 Zodiac: Virgo Traits: Food Lover, Loner, Romantic Career: Actor

Ravi Nitin was raised in a 7 sibling household in Willow Creek. Ravi was amused once his dad brought him to a play called "San Myshuno" (Inspired by Chicago The Musical) Ravi knew he didn't want to be a doctor like his parents or eldest siblings. If Anything He was born for the spotlight. Went to University for Film and Art with a Minor in Culinary leading him to the love of food and culture. While in College he had a bit of fun. Let's just say he has a lot more in the bank not from being the son of two important doctors in Willow Creek, but maybe a Sugar fund from Judith Ward herself which got him into his big gig as the starring lead hunk of a romcom.

Likes: Anime, Morning Jogs, Twix (His Miniature dachshund), Sage Green, Storm Gray, SZA, Classic films, Spiritual Gurus, Body Hair, Reading romcoms, Cosplay, Silence, Candle-Lite Rooms, Playing in the rain, Pottery, Cooking, Celebrity crush Octavia Bailey

Dislikes: Jealousy, Club House Music, Cheap food, hot weather, no culture, no structure, Clowns, Cheap Wine, Bad Dressers, Contacts (Because he has trouble with putting them on himself), Throne Bailey, cheap parties, quick romances

BIG SHOUT OUT TO @wrixie I really enjoyed reading and looking at their competition and artwork towards this whole challenge.

★ Contestant Entry Guidelines ★

Must be Young-Adult or Adult

Humans & Occults are Welcomed

Must have at least one negative trait

Can be any gender, preferably female

Skills don't matter (but would help for character building)

Must have Likes + Dislikes

Maxis-Match or CC Free

Must be comfortable with changes like eyes, skin blends, and lashes due to me having different defaults in my game to keep my own style flowing.

★ How to become a contestant ★

So I have a small platform so there really isn't a deadline I'm looking for 7 contestants so I'm praying I get some ppl interested Please at me @naeices & Hashtag #NaeBC so I can be able to see your entries Please feel free to ask me questions!

★ 7/7 Contestants ★ i. Lauryn Faith Weaver | @beebeesiims ii. BALEIGH GREY | @comfyinn iii. Roxanne Kennedy | @agena87 iv. Ife Akintola | @estah v. Maribel Benitez | @lonvely vi.Marley Dunham | @kikitrait vii.Lourdes Jaleel Harper | @akitasimblr SO EXCITED I think I typed enough again thank you so much!

Oh My Goodness! I didn't think this would've gotten so much attention. Thank you everyone who sent me questions, concerns, and even their beautiful sim ladies. Anyways I will be posting more about them in this upcoming week so stay tune!

[topazy]

Teen spirit

Pairing: Carl Grimes × reader, Maggie Greene × sister reader

Warnings: Blood and violence

Chapter: 5.03

You stand in the church hall, holding Judith protectively as Sasha pulls her blade from her belt and threatens Father Gabriel. Daryl, Carol, and Bob had gone missing during the night, and she blamed him for it.

“Where are our people?” She screams.

He raises his hands defensively and says, “I didn’t have anything to do with this.”

“Where are our people?”

“Please, I don’t have anything to do with this. I…”

Rick pulls Sasha back, then steps directly in front of Gabriel with the same crazed look in his eyes that he had when your group was taken. “Why’d you bring us here?”

“Please, I…”

“Are you working with someone?” Rick asks, stepping closer to him.

“I’m alone. I’m alone. I was always alone.”

You felt bad for Father Gabriel; it didn’t feel right to question a man of God in his own church. It was obvious Gabriel was hiding some dark secret, but you believed he had nothing to do with the three members of your group going missing.

“What about the women in the food bank, Gabriel? What did you do to her? ‘You’ll burn for this.’ That was for you. Why? What are you going to burn up for? Rick suddenly lunges forward and grabs him by the collar. What? What did you do? What did you do?”

Gabriel’s eyes fill with tears; he struggles to maintain eye contact with anyone in the room. “I lock the doors at night. I always lock the doors at night. I always…they started coming, my congregation. Atlanta was bombed the night before, and they were scared. They were looking for a safe place, a place where they felt safe. And it was so early. It was so early. And the doors were still locked. You see, it was my choice. There were so many of them, and they were trying to pry the shutters and banging on the siding, screaming at me. And so the dead came for them. Women…children. Entire families called my name as they were torn apart, begging me for mercy.” He breaks down in tears, “begging me for mercy. Damn me to hell. I buried their bones. I buried it all.” Gabriel takes a deep breath and says, “The Lord sent you here to finally punish me. I’m damned. I was damned before. I always locked the doors. I always locked the doors.”

You watch as the father crumbles to the ground, an emotional mess, grieving the loss of his congregation that was indirectly caused by him. Hearing a whistling sound, you turn behind you to look out the window. You manage to make out a figurine wriggling on the ground outside. “There’s someone lying outside in the grass!”

Sasha leads the way as the adults rush outside, with Rick ordering you and Carl to stay behind with Judith. When you hear gunfire, you run away from the window and stand by Carl on the other side of the room. At the same time, Sasha and Rosita carry Bob inside. You fight back the scream that builds inside you as you notice one of his legs is gone.

They sit Bob down in the middle of the aisle. “I was in a graveyard,” he explains. “Somebody knocked me out. I woke up outside this place; it looked like a school. It was that guy, Gareth. And five others. They were eating my leg right in front of me, like it was nothing. They were all proud, like they had it all figured out.”

The room falls silent until you clear your throat and shakily say, “Rick was right; you should have gone back and killed them all.”

“Y/N,” Maggie says, looking across at you with a look of shock on her face.

“Like I’m wrong? Look at what they did to Bob! What if they took Daryl and Carol as well?”

“Gareth said they drove off,” Bob says before letting out a groan of pain.

Sasha tries to get painkillers for Bob, but he tells her to save them. He pulls down his top at the shoulder to show her a walker bite. “It happened at the food bank.”

Everyone in the room's eyes tear up. Bob was going to die regardless of what anyone did; nobody could help him now.

—

While Tyreese and Sasha move Bob to the sofa in Gabriel’s office, Carl puts Judith, who is starting to cry, to bed in a basket full of blankets. Rick and Glenn try to discuss what should happen next, but Abraham interrupts them.

“It’s time for a reality check,” the redhead says. “We all need to leave for DC right now.”

Rick stares him down. “Daryl and Carol are going to be back. We’re not going anywhere without them.”

“I respect that, but there’s a clear threat to Eugene. I need to extract his ass before things get any uglier. So if y’all won’t come, good luck to you. We’ll go our separate ways.”

As Abraham and Rosita head for the doors leading out the church, Rick asks, “You leaving on foot? “

“We fixed that damn bus ourselves.”

“There are a lot more of us.”

“You want to keep it that way? You should come.”

Rick and Abraham now stand in front of each other in the church aisle, both of them riled up with anger and ready to burst.

“Carol saved your life; we saved your life,” Rick hisses at him.

“Well, I am trying to save yours. Save everyone’s.”

“We’re not going anywhere without our people.”

“Your people took off.”

“They’re coming back.”

Glenn jumps between the two men when Abraham shives Rick, separating them before things can escalate. “Do you really think that you’re going to be any safer leaving right now in the middle of the night?”

“Yeah,” Abraham nods. “Yeah, I do, actually.”

“It doesn’t matter when you leave,” you say as you step forward. “Those freaks will still be outside. They didn’t bring Bob back here to be saved; they brought him back here so you would go after them. I guarantee you they will either be outside waiting for someone to wander off on their own, or they will be waiting for the rest of us to be left here vulnerable.”

Rick narrows his eyes. “What do you mean?”

“Think about it. You go out there looking for retaliation with your best fighters, who’s left here. Me? Carl? Judith? They don’t just want to kill us; they want to make us suffer first, and the best way to do that is by hurting the ones we love.”

A look you’d never seen before appears on Rick’s face; it’s caused a lump to form in your throat. It’s hard to tell, but he looks a mixture of furious and sad.

“She’s right,” Tara says, walking to Abraham. “I have a plan, but for it to work, we need to all stick together. If you still have one more day, I’ll go with you to DC.”

Abraham nods. “Glenn and Maggie, too.”

When Rick tells him no, Abraham orders Rosita and Eugene to leave with him immediately. As they go to leave, Rick says they can’t take the bus again, causing another argument that almost comes to a physical fight, but Glenn jumps in between them again. “If you stay, you stay and help us, and me, Maggie, and y/n will go with you.”

Your heart sinks. Maggie was your sister, and Glenn was your brother-in-law but the rest of the group was your family as well. You weren’t leaving, but now wasn’t the time for that argument.

—

You, Carl, Rosita, Tyreese, Eugene, and Gabriel all hide in the back office, watching over Bob and Judith while waiting for the plan to roll into action. Nervously, you bite at your nails, which doesn’t go unnoticed.

“You worried they won’t be back in time?” Rosita asks quietly.

“No, it was just something else.”

She smiles softly at you. “You don’t want to leave for DC, do you? It’s okay if you don’t.”

Your mouth suddenly feels dry. “No, I don’t, but that wasn’t where my head was at. I was thinking about what Bob said about the school.”

“The elementary school?”

“He said it was jammed packed full of walkers, and it didn’t look as if it would hold for much longer.”

She says, “One problem at a time, kid. But I like that you are thinking ahead; it’s a good quality to have.”

After some time, you sit alone again, back pressed against the wall, until Carl sits down beside you with Judith in his arms. You smile at the baby until you hear the sound of wood being broken. Scared, you grab Carl’s free hand, as the door to the church is broken. For a split second, Carl allows you to do this, but he quickly pulls his hand away, then hands you Judith before standing and aiming his gun at the door leading into the office.

“Well, I guess you know we’re here.” Gareth calls out. “And we know you’re here. And we’re armed. So there’s really no point in hiding anymore.”

Rosita puts her fingers to her lips, then steps closer to the door, aiming her own gun at it.

The floorboard creaked underneath the weight of footsteps, meaning they were getting closer. “We’ve been watching you. We know who’s here. There’s Bob, unless you’ve put him out of his misery already. And Eugene. Rosita. Martin’s good friend Tyreese. The girl who kicked Steve in the balls, y/n. Carl. Judith.”

The moment Gareth says her name, you stand and pull the blade from your belt. There was no way you were letting them take her.

“Rick and the rest walked out with a lot of your guns. Listen, we don’t know where you all are, but this isn’t a big place. So let’s just stop this now before things get more painful than they need to be.”

Tears of terror swell in your eyes when the door handle begins to rattle.

“Look, you’re behind one of these two doors, and we have more than enough firepower to take down both. I can't imagine that’s what you all want.” Gareth cocks his gun. “How about the priest? Father, if you help us wrap this up, we’ll let you walk away from it. Just open the door, and you can go. You can take the baby with you. What do you say?”

Judith begins to cry, her eyes heavy with tiredness. You quietly try and coo her to sleep, prying; she stopped being so loud, even though you know Gareth and his men heard her cry.

“It’s your last chance right now to tell us you’re coming out.”

Seconds later, gunfire echoes in the church, followed by an altercation and people screaming. Tyreese cracks the door open and looks out before slowly coming back into the room. He mutters, “It’s our people.”

You hand Judith to Carl and leave the room to check on your sister, but you’re greeted by the grisly sight of massacred bodies. Their blood was splattered across the walls and windows. Father Gabriel steps out behind you and says, “This is the Lord's house.”

“No,” Maggie states. “It’s just four walls and a roof.”

You step over the bodies and hug her and Glenn.

—

After burying Bob, who died early in the morning, your group began to part ways, leaving you with the difficult task of letting your sister know you weren’t going with her and Glenn. You wanted them to stay, but they weren’t going to go back on their promise to Abraham.

“It’s not up for debate; you’re coming with us, and that’s final.”

“No, I’m not. I’m not leaving for DC.” In truth, you didn’t believe there was much hope in DC but wouldn’t dare share it out loud; you doubted and wanted to cast doubt on those who did believe.

“Yes, you are.”

Glenn ushers you both to the opposite side of the road as others begin to listen in on your conversation, which is quickly turning into an argument. “What about Beth? We can’t go if she’s still here.”

“I’ve already lost one sister; I’m not going to just lose you too.”

You shake your head. “I’ve made up my mind.”

“Maggie, she’s fifteen,” Glenn says quietly. “We can’t force her to come; let her stay. We’ll all meet up again. Besides, she’ll probably be safer here than on a bus.”

“Whenever our group splits up, something bad happens.”

Rick clears his throat. “I don’t mean to pry, but I’ll look after her as if she’s my own. I won’t let anything happen to her.”

Maggie looks torn, but after thinking about it, she agrees. “Fine, but you’ll do everything Rick says.”

“I will, I promise.” You wrap your arms around Maggie and say, “I love you.”

“I love you too, and I need you to stay safe for me.”

After an emotional goodbye, the bus taking one half of your group drives off. Part of you feels lost. You really thought you and Maggie would stick together this time, but you couldn’t bear the thought of leaving and starting a new life halfway across the country while Beth was possibly still looking for her family. Rick squeezes your shoulder. “I’m glad you stayed; I know Carl and Judith really need you.”

You sigh, “I need them too.”

You turn to look up at Rick, who still had small traces of blood on his top, face, and neck. “Last night we might have walked into a trap, but you were able to see something we didn’t. I’m proud of you; I'm sure Hershel would be proud of you as well.”

“Thanks Rick.”

You go inside to join the remaining members of your group. The bodies of the dead had already been moved outside, but their blood still remained everywhere. Seeing Gabriel looking so distraught, you go to the small kitchen and fill a bucket with a small amount of water, grab some old-looking clothes and a small amount of soap of water, and return to where the blood stains are. You kneel down and begin to scrub at the blood on the floor. Carl joins you, giving you a small smile as he does.

[fibula-rasa]

Lost, but Not Forgotten: Two Kinds of Women (1922)

Alternate Title: Judith of Blue Lake Ranch

Direction: Colin Campbell & George C. Bertholon (assistant)

Adapted Scenario: Winifred Dunn

Based on: Judith of Blue Lake Ranch by Jackson Gregory (novel)

Production Manager: R.J. Tobin

Camera: Dev Jennings

Editing: Pauline Frederick (editing supervisor), Colin Campbell, & Dev Jennings

Studio: Robertson-Cole (Production & Distribution)

Performers: Pauline Frederick, Tom Santschi, Charles Clary, Dave Winter, Eugene Pallette, Billy Elmer, Jack Curtis, Jim Barley, Sam Appel, Otis Harlan, Clarissa Selwynne, Jean Calhoun, Tom Bates, Lydia Yeamans Titus, Frank Clark, Bud Sterling, Elise Collins, Joseph Singleton, & Stanhope Wheatcroft (not mentioned after release, but listed during production: L.C. Shumway)

Premiere: Opened at Loew’s State Theatre on 3 February 1922; preview screenings for reviewers in NYC, 27 January

Status: presumed entirely lost

Length: 6 reels,  ~6,000 feet (a few sources say 5, most say 6)

Synopsis (synthesized from magazine summaries of the plot):

Judith Sanford (Frederick) inherits the sizable Blue Lake Ranch after the unexpected death of her father. Upon her arrival, she discovers that the ranch’s manager, Trevors (Clary), has been systematically undermining the value of the ranch. Judith confronts him, fires him, and wings him with her pistol as severance. 

The horse foreman, Bud Lee (Santschi), had suspected Trevors’ dirty dealing, but questions if he can work for a woman. Regardless of his doubts, Bud respects Judith’s goals and remains loyal to the ranch.

As there are still men working on the ranch loyal to Trevors, Judith’s employees are divided. One of Trevors’ hires, Quinnion (Curtis) rebukes Judith and suggests she can’t even ride. She challenges him to bring her a horse he thinks she can’t ride. Judith successfully rides the wild broncho and Quinnion is cowed, leaving the ranch bitterly. The incident wins Judith the respect of the men, including Bud and Carson (Pallette), the cattle foreman.

Judith’s next point of action is tracking down the staff Trevors ousted, most importantly the ranch vet, Doc Tripp (Clark). Tripp returns and uncovers that disease-infected animals have been intentionally introduced to the ranch’s stock. Judith runs Trevors’ vet, Crowdy (Appel), off the ranch.

Hampton, a city boy and one-third owner of the ranch, is unhappy when he hears of Trevors’ firing and decides to pay a visit to Blue Lake. (In reality, he’s dodging his creditors.) The visiting socialites are rankled by Judith’s cowgirl togs and no-nonsense demeanor. Alternately, the ultra ladylike Marcia (Calhoun), Hampton’s fiancee, finds a new devotee in Bud.

On the night of their arrival, Judith learns that the employee she sent to collect the payroll has been robbed. Bud races to the bank overnight to return to pay the staff the following day. As Bud is on his way back, his horse is shot out from under him, but he manages to reach the ranch just in time.

That night, Bud and Judith set out to track down the bandits and recover the stolen payroll. At a cabin in the mountains, they catch the robber after a shootout and find it’s the discharged vet, Crowdy. They agree to stay overnight to guard the injured Crowdy. To pass the time, Judith pulls a book from an unexpectedly well-stocked library in the cabin and sees that the books belong to Bud! They’re interrupted when Quinnion attacks to save Crowdy and another shootout ensues.

Fortunately, Judith’s absence from the ranch was noticed by Hampton. He has mounted up with Bud’s assistant, Tommy, and they arrive in time to save the pair and manage to capture another of Trevors’ agents, Benny (Barley). Benny is locked up, but is freed overnight, meaning there are still more of Trevors’ men lurking. Bud pledges his loyalty to Judith, but then has a romantic foray with Marcia.

Despite the hubbub, the annual Blue Lake dance is held. Carson kits out the workers in suits mail-ordered from Sears-Roebuck, which they accessorise with guns and ammo belts. Bud, it turns out, has a tailored suit of his own that he unpacks and presses for the occasion. He is bewildered when he arrives at the dance and sees a perfectly feminine Judith in a fashionable Parisian gown. Fully enamored with “the real Judith,” Bud whisks her off to the porch and kisses her.

Judith is surprised to find an urgent note from Doc Tripp awaiting her after the dance. The note explains that he has uncovered another Trevors mole and has been wounded. Judith rushes to Tripp, but is waylaid and kidnapped. She manages to remove the mask from one of her abductors and it’s Trevors himself! 

Three days pass. Hampton suddenly orders Carson to prepare 500 head of cattle to be sold at a loss. Immediately suspicious, Bud rides to the ranch house and is told that Judith left for San Francisco three days prior. Given Hampton’s fishy assumption of command, Bud and Carson tie him up while they investigate Judith’s real whereabouts. They discover the forged note and confirm with Tripp that he didn’t write it. With mistrust toward Hampton building, they place him under guard and ride to confront Trevors.

In all that time, Judith has been kept prisoner in the mountains by Quinnion. When Quinnion attacks her, Judith seizes an opportunity to escape, but quickly learns that her prison is set among perilous cliffs. Quinnion gives chase, they struggle, and he plummets to his death. Hopelessly lost and exhausted from her ordeal, Judith makes a last ditch effort for rescue by lighting a signal fire before losing consciousness.

Bud and Carson find Trevors and a wild fist fight breaks out. Bud trounces Trevors and Trevors is forced to leave town for good, but not before revealing where he’s hidden Judith. Bud rescues Judith and they all return to the ranch. After they have had time to recover from their respective tribulations, Bud and Judith reunite and embrace.

——— ——— ———

Points of Interest:

Pauline Frederick made 55 silent feature films in her career. Of those 55 films 45-6 of the films are presumed lost or mostly lost. [One film’s status is unclear ATM.] Of the 9 known to survive, 3 are incomplete (2 are missing at least one reel and the 3rd survives in an abridged cut).  Of the surviving 9, three have had home video releases [Three Women (1924), Devil’s Island (1926), and Smouldering Fires (1925)]. Of the 6 surviving films that haven’t had home-video release, 2 have been screened publicly in the past decade [The Love the Lives (1917) and The Moment Before (1916)]. A very rough record for a big star (who didn’t spend most of their career at Fox) to only have a 16-18% survival rate.

——— ——— ———

Winifred Dunn, prolific writer from a young age working in many genres, wrote/edited 33 silent features, 20 of which are presumed lost.

——— ——— ———

Two Kinds of Women was part of the schedule of R-C Pictures’ releases for early 1922. This was a crucial moment in the history of the company, as it was soon after re-organized into F.B.O. The founders exited the company, but so did Pauline Frederick, Sessue Hayakawa, Tsuru Aoki, and Doris May—their biggest stars going into 1922. 

While the contemporary critical response to TKoW was generally positive and exhibitors across the US and Canada cited good ticket sales, it didn’t leave much of a legacy. At least one contemporary critic, Laurence Reid, considered the film of decent quality but ultimately forgettable. Whether TKoW would have stood the test of time or not, we can’t know. Lost or not, I’m sure the re-organization of TKoW’s distributor affected its potential for long-term popularity. There is at least one instance from after the re-org of a theatre owner receiving a faulty print of the film. So, even by 1923, it was hard to come by a decent print of TKoW.

The reason I’m confident in placing blame on R-C/F.B.O. is that, of the slate of 20 films they released in late 1921 and early 1922, 16 are currently presumed lost and only 3 appear to be completely extant:

Lost: The Lure of Jade, The Sting of the Lash, The Foolish Age, Eden and Return, Five Days to Live, The Vermillion Pencil, A Wife’s Awakening, Silent Years, The Call of Home, The Barricade,Two Kinds of Women, Boy Crazy, Salvage, The Glory of Clementina, Gay and Devilish, and At the Stage Door  Extant: Where Lights Are Low, The Swamp (would live to see this one BTW), and Beyond the Rainbow

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Transcribed Sources & Annotations over on the WMM Blog!

[judgeitbyitscover]

Bone Wars (1998) & Two Tiny Claws (1999) by Brett Davis

Cover illustrations by Bob Eggleton

Bone Wars (1998)

Montana, 1876. Othniel Charles Marsh, one of the two top paleontologists in the world, in the state's Judith River fossil beds, doing what he does best: digging up the bones of dinosaurs. Montana is a big state, but Marsh can't rest easy. Edward Drinker Cope, his biggest rival, and the other top paleontologist in the world, is also in the area, and there simply aren't enough bones for both of them, leading them to play dirty tricks. And time itself is against them: the fierce snows of winter are on the way and, rumor has it, so is Sitting Bull, fresh from his triumph at little Big Horn.

Another complication: two foreign scientists are also competing for the bones. One says he's from Sweden, the other says he's from Iceland. One of them enlists Cope to help him, while the other befriends Marsh.Marsh and Cope don't want the fossils to leave the country, so they decide to bury the hatchet and work together to outwit the visitors. This turns out to be harder than they thought. The foreign scientists possess amazing technology, but that's because they are much more foreign than they claimed. They don't just want to take the bones out of the country -- they're fighting over who will get to take them clean off the planet....

Two Tiny Claws (1999)

Montana, 1907. Barnum Brown of the American Museum of Natural History aims to dig up fossils of Tyrannosaurus Rex, the most fearsome carnivore ever to walk the Earth. He dismisses rumors of earlier paleontologists encountering both resurrected dinosaurs and aliens from space. He's more worried by reports that notorious bank robber Luther Gumpson is in the neighborhood. But then Brown discovers that the aliens are real, they're back, and they're mad. And he'll see more than the bones of T-Rex, when he encounters the awesome ground-pounding predator in the flesh....

[mismess]

i remember back when sing 2 was being like. hinted and this was all i could ever find of it. the cheetah.

Love the random unfriendly cheetah and extra koala(busters son?), but I especially love how Judith from the Bank got promoted to main character, good for her

it's not like we're getting much better images for sing 3 tho. who the hell are these guys

[neuronary]

yknow. every time i see anyone posting any like. generational separation 'ok boomer' adjacent stuff, i think about my grandparents. both sets.

my mum's dad was a bricklayer throughout his teens, twenties, and thirties. he dropped out of school at twelve to work to support his family (nine siblings, which really puts my five to shame). he was a card carrying union rep nearly the entire time, organised strike action across three different construction sites, and negotiated pay rises for seven. he's voted labour his entire life, begrudgingly, despite thinking they are 'an effete load of centrist wankers'. even before the blairites.

my mum's mum spent her working life as a social worker, supporting hundreds of parents (largely single, working class mothers) through rehab to help reunite their families. she stopped me from falling for anti-communist propaganda in american tv shows several times throughout my teens. and she taught me to care about everyone i meet, even the ones that seem like total bastards.

neither of them are perfect. they don't use the right words. my grandad still misgenders me because he can't get the hang of they/them (but i appreciate the solution of stammering before yelling my name or alternating between he and she). my gran, right before i got top surgery, said "so, by next week you'll be my grandson". they don't get it, not really. but they try. and they'll love me as long as i don't get a job at a bank, vote tory, or cross a picket line.

then there's my dad's side.

both of his parents were long-standing conservative voters before i came out, then my grandpa (the epitome of the quiet, asocial husband seen on television) quietly starting voting green, as the only party with a robust pro-trans rights stance. my grandma (may her memory live on) ran a knitting drive of feminine cardigans and jumpers to donate to my transfem friends at her local WI. i recently found out that, in her will, my grandmother donated a not insignificant portion of her money to mermaids uk.

my grandfather has started listening to judith butler audiobooks (his eyesight is going nowadays) and presses on even though 'it all seems rather complicated for me' because he's an academic at heart, and he wants to understand me. he's past the point of being able to engage in much meaningful political action, but he sent me money to donate to my university's divestment lobbying group (objectively insane from a former tory) and spend on making them food to sneak into their sit-in when the uni tried to starve them out.

neither of them are, or were, perfect either. that's not the point. the point is that they changed. they were never what many people would term 'bad people', but they changed and they grew as they learned more about the world and modern politics.

tl;dr old people are not your enemies. the rich are. get it together.

[lemonisntreal]

Any of you guys remember Judith?

if not, then that's ok because I've pretty much rewritten them entirely lol [as you can see from this lovely interaction ~_~]

I've recently fallen head over heels for what is essentially an OC at this point. Because what you knew as Judith is now gone. Judith-from-the-bank is now a 7-foot-tall enby in a peacoat and hat who will destroy you without mercy. 7'04" if you're wanting exact measurements [not including ears] I have a whole height chart thing I'll probably put out one day [Buster is 2'11" if you're curious].

In Tone Deaf, Judith controls the entire city, not just the bank. Buster is on extremely bad terms with them, and wow, look, conflict. They're stoic, sadistic, will sell you out in a heartbeat if it's to their benefit, etc. Buster refers to them as "all business and no soul" so even he's lost all hope of getting past their walls.

I love them dearly. Definitely gonna do more art with them.

[tigresslanzhu]

Never forget that Judith was only doing her job, but we still side with Buster anyway!

[eretzyisrael]

by Judith Miller

Last fall, Egypt was on the brink of economic collapse. A decade of debt-fueled spending on a pharaonic-scale had emptied its Central Bank coffers. By February, Cairo’s public debt was 89% of its gross domestic product. External debt had soared to 46% of GDP. The pound, its currency, was one of the world’s worst performing. Unable to import supplies and repatriate profits, foreign companies were leaving, or threatening to leave Egypt in droves. Annual inflation was over 35%, and double that for some food staples. Egypt seemed on the verge of a sovereign default—its first ever.

Then came Oct. 7.

Officials, businessmen, and financial analysts say that however horrific the war has been for Israelis and for Palestinians in Gaza, Oct. 7 has helped save Egypt from economic ruin and growing political unrest. To be sure, Egypt is paying heavily for the ongoing Israel-Hamas war on its border. Its three main sources of revenue—hard currency from the Suez Canal, tourism, and remittances from Egyptian workers abroad—have plummeted by between 30% and 40%. But without Hamas’ horrific massacre, which killed 1,200 people and took another 240 hostage, and Israel’s much criticized retaliation in Gaza, Egypt would probably not have gotten the international financial lifeline that has rescued it yet again from economic ruin, just in time.

“Just after the attack, the government began strategizing, successfully it’s turned out, about how to use the crisis to secure a bailout,” said Ahmed Aboudouh, an Egyptian expert at Chatham House, a London-based think tank. “Oct. 7 helped save Egypt’s economy, at least temporarily.”

Last February, the Abu Dhabi Developmental Holding Company (ADQ), Abu Dhabi’s sovereign wealth fund, unveiled plans to develop a city by the sea on part of the 65-square-mile peninsula of Ras el-Hekma, one of the few undeveloped areas on the Mediterranean coast, part of a sale worth $35 billion in investment and debt relief, the largest foreign direct investment deal in Egyptian history. Egypt will retain a 35% stake in the project. Since Sheikh Tahnoun bin Zayed al-Nahyan, the chairman of ADQ, is Emirati President Mohammed bin Zayed al-Nahyan’s brother and the UAE’s national security adviser, the Ras el-Hekma purchase was far more than a financial transaction. It was part of an Egyptian bailout.

Egyptians bristle at the loss of their nation’s diplomatic clout. By reviving its regional profile, Oct. 7 has bestowed another gift on Egypt.

Then in March, Cairo secured a critical $8 billion loan from the International Monetary Fund, with strong American support. The IMF infusion, in turn, opened other foreign faucets. The European Union promptly agreed to provide another $8 billion in grants and loans, ostensibly to help Egypt’s economy, but in reality, to assure Egypt’s help in preventing Arab and African migrants from reaching European shores. In total, the IMF, Europe, and the Gulf have now poured well over $50 billion of foreign currency into Egypt’s cash-strapped coffers. “The U.S., Europe, and the Gulf clearly agreed that the Sissi government could not be permitted to fail,” said Steven Cook, an expert on Egypt at the New York-based Council on Foreign Relations. “Geopolitics has taken over.”

Only months before, the IMF had not completed the review of Egypt’s loan agreement approved in December 2022, thereby withholding a tranche of the $3 billion rescue package, as the government had failed to deliver on agreed benchmarks. While the fund attributed its about-face in March to the increasing damage being done to Egypt’s economy by the Israel-Hamas war—or what it euphemistically called a “more challenging external environment”—absent American pressure on the fund and on Egypt to agree belatedly to financial reforms it had previously rejected, the IMF loan and even the Ras el-Hekma deal would not have gone through. Since Washington is the fund’s largest shareholder with a 16.5% stake, it holds sway over its key lending decisions.

The Biden administration, too, was obviously unwilling to risk the economic collapse and political destabilization of the Arab Middle East’s largest country and the first Arab state to make peace with neighboring Israel in the midst of one of the region’s deadliest wars in modern history and with other conflicts around it still raging—especially since Egyptian mediation with Hamas was crucial to White House policy. “Egypt has proven, yet again,” said Aboudouh, “that it is, as its elite believes, too big to fail.”

[anonil88]

I see the gays are going to loose their minds over Jasmin's public journey with queerness. And some of you are sounding a lil too much like Afterellen writers.

To yall and to anyone who feels the same as her might i suggest this interview:

Or any of these links / books. which i'm using good reads links so you can see the triggers or content warnings to not be blind sided.

Stone Butch Blues by Leslie Feinberg (good reads link but you can find the book for free) tw assault, this is not a book for minors

Zami by Audre Lorde (good reads)

My Gender Workbook (good reads) and Gender Outlaws: both the original and the 2010 version by Kate Bornstein

This SLATE article from 2015 (slate article) (wayback in case that link breaks)

These reddit posts with a valley of insight in the comments from older much older queer, gay, and lesbian people: Thread 1 Thread 2

A study done in 2009

Bodies in Relation—Bodies in Transition (article here)

Youtube videos and maybe a documentary

Queer Theory 101- Part 1- An open discussion with Ben Bateman- 30 min and there are 2 parts (go to youtube)

Brief Lecture Introducing Concepts of Queer Theory with Professor Matt Alberhasky- 10 min (go to youtube)

Judith Butler explaining Gender Theory- 13 min (youtube) and their book Gender Trouble: Feminism and the Subversion of Identity (good reads): and i will quote them here "Stumbling is a part of learning and making an error is a part of learning." & "Many people who refuse to allow trans people to define themselves is that they feel their own self definition is destabilized."

The Aggressives (free tubi link but you can arrgh matey it if you try hard enough) , a 2005 documentary, directed by Eric Daniel Peddle. An insightful exposé on the subculture of masculine presenting POC and their "femme" counterparts. Filmed over five years in NYC, the featured subjects share their dreams, secrets and deepest fears. Some of the AGs in this video identify as trans men, non binary, or bi now but all of their experiences are valid.

And if you were wondering yes, yes i do love researching and having references. Its fun.

This might be shocking but there are older lesbians and i am talking the most butch blue collar trades dyke with silver strands who have done way more things that would make some of y'all squeem because its not within this very linear view of what some people view should be everyone's exact labeled experience should be. And yes they still fully identify as lesbians and are in very long term commited lesbian relationships their past has just been a lot. No two people are the same and many people will have a definition similar to you but an entirely different and layered experience. This also includes experiences and journeys with labels that you are going to feel uncomfortable with if they open up about the journey that it took them on to get to the same label you use. I tend to say that is for thee does not have to be for me. Sometimes the moments of others journey albeit will be cringey to you and others but they aren't directly harmful to you and your experience. No matter what we will all still be hit on by people and certain demographics that we do not want to be hit on, because they do not care. Tearing apart your communities in person and online over drivel and people just on their journey whilst learning does nothing for us when that is what those in opposition are banking on. Now unclench and breathe.

[racefortheironthrone]

Just read that the reason the US boomed post wwii wasn't because of fdr/domestic policy but because the US had little international competition since Europe was destroyed. China closed off etc, soviet union was communist and only the usa had the infrastructure and was in a league of its own and that even if this had continued under reagan and onwards we would still have the inequality and other economic problems we have today. Is this true?

This is a common misconception, confusing an entirely temporary dominance in production with national prosperity. It's wrong on both foreign and domestic levels.

I'll start with the foreign: it is true that the U.S had (relatively) little international competition to start with after WWII, but it was also true that the U.S had (relatively) little international customers either. Europe, formerly the richest region in the world, had been utterly devastated. The Soviet Union and China were out of the question due to Cold War concerns. In Central and South America, Africa, and Asia, trade was limited by lower incomes and the increasing popularity of import-substitution industrial policies.

This is why, after WWII, the United States pursued a policy of fostering international competition and giving these countries access to the U.S' massive domestic market in order to spur economic recovery in Europe and Japan and prevent those countries (and Latin America, Africa, the Middle East, and Asia) from going over to Communism. Hence the Marshall Plan, hence Bretton Woods, hence GATT, the World Bank, the IMF, and on and on. Here, I recommend Judith Stein's Pivotal Decade: How the United States Traded Factories for Finance.

On to the domestic: the main reason why the argument that the U.S economy was prosperous after WWII because of international dominance is stupid is that trade just wasn't that big a part of the U.S economy: U.S exports and imports together were less than 10% of U.S GDP throughout the 1940s (with a brief exception for the war), the 1950s, and the 1960s. The U.S had industrialized behind massive tariff walls in the 19th century, and even after the Underwood Tariff of 1913 that shifted Federal policy from tariffs to income taxes, the economic habits of generations remained.

When it comes to the major sources of post-war economic prosperity, you really do need to look at the New Deal, WWII economic policy - especially bond policy that saw 85 million Americans buy a combined $185 billion in war bonds that would be released into the post-war economy, and the GI Bill which generated $33 billion in home loans (unfortunately, almost entirely for white veterans only).