#Norton Support Number

[linajensen9497]

Tiedätkö Nortonista? Jos ei, sinun tulee oppia siitä mahdollisimman pian suojatakses kannettavan tietokoneen tai tietokoneesi haitalliselta sisällöltä ilman vaikeuksia.Viruksille ja pahantahtoisille ihmisille on varsin kätevää päästä järjestelmääsi Internetin avulla.

[elceeu2morrow]

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[reasonsforhope]

"Despite the Central Appalachia ecosystem being historically famous as coal country, under this diverse broadleaf canopy lies a rich, biodiverse world of native plants helping to fill North America’s medicinal herb cabinet.

And it turns out that the very communities once reliant on the coalfields are now bringing this botanical diversity to the country.

“Many different Appalachian people, stretching from pre-colonization to today, have tended, harvested, sold, and used a vast number of forest botanicals like American ginseng, ramps, black cohosh, and goldenseal,” said Shannon Bell, Virginia Tech professor in the Dept. of Sociology. “These plants have long been integral to many Appalachians’ livelihoods and traditions.”

50% of the medicinal herbs, roots, and barks in the North American herbal supply chain are native to the Appalachian Mountains, and the bulk of these species are harvested or grown in Central Appalachia, which includes southern West Virginia, eastern Kentucky, far-southwest Virginia, and east Tennessee.

The United Plant Savers, a nonprofit with a focus on native medicinal plants and their habitats, has identified many of the most popular forest medicinals as species of concern due to their declining populations.

Along with the herbal supply chain being largely native to Appalachia, the herb gatherers themselves are also native [to Appalachia, not Native American specifically], but because processing into medicine and seasonings takes place outside the region, the majority of the profits from the industry do too.

In a press release on Bell’s superb research and advocacy work within Appalachia’s botanical communities, she refers back to the moment that her interest in the industry and the region sprouted; when like many of us, she was out in a nearby woods waiting out the pandemic.

“My family and I spent a lot of time in the woods behind our house during quarantine,” Bell said. “We observed the emergence of all the spring ephemerals in the forest understory – hepatica, spring beauty, bloodroot, trillium, mayapple. I came to appreciate the importance of the region’s botanical biodiversity more than ever, and realized I wanted to incorporate this new part of my life into my research.”

With co-investigator, John Munsell at VA Tech’s College of Natural Resources and Environment, Bell’s project sought to identify ways that Central Appalachian communities could retain more of the profits from the herbal industry while simultaneously ensuring that populations of at-risk forest botanicals not only survive, but thrive and expand in the region.

Bell conducted participant observation and interviews with wild harvesters and is currently working on a mail survey with local herb buyers. She also piloted a ginseng seed distribution program, and helped a wild harvester write a grant proposal to start a forest farm.

“Economic development in post-coal communities often focuses on other types of energy development, like fracking and natural gas pipelines, or on building prisons and landfills. Central Appalachia is one of the most biodiverse places on the planet. I think that placing a greater value on this biodiversity is key to promoting a more sustainable future for the region,” Bell told VA Tech press.

Armed with a planning grant of nearly half a million dollars, Bell and collaborators are specifically targeting forest farming as a way to achieve that sustainable future.

Finally, enlisting support from the nonprofit organization Appalachian Sustainable Development, Virginia Tech, the City of Norton, a sculpture artist team, and various forest botanicals practitioners in her rolodex, Bell organized the creation of a ‘living monument’ along Flag Rock Recreation Area in Norton, Virginia.

An interpretive trail, the monument tells the story of the historic uses that these wild botanicals had for the various societies that have inhabited Appalachia, and the contemporary value they still hold for people today."

-via Good News Network, September 12, 2024

[sweetwolfcupcake]

Wildflower: 06

The Secret Garden

John Wick x Reader

Category: Short Series

Warning: Stalking, mentions of violence

Note: John is relatively younger in this fic( late thirties to early forties)

*Thank you the original creator for making such an amazing GIF. I downloaded it from Google.

Unedited

Wildflower 05

According to John’s rational, calculating mind, his job was done. He got her to the hospital, paid the bills, played his part in Winston’s unexplained act of taking the young woman under his wing, and ensured his name was nowhere in the records. 

The hospital's owner knew’ John and was an old acquaintance of Winston. By now, John was sure Winston learned of John’s visit and that he brought her to be admitted there.

According to John's rational mind, he should be at the Continental, or at least answer Winston's messages (only two since the morning– he was too refined to send more than that).

But for once, his rational mind was conflicting with his instincts. It was not the first time, but it was a rare occurrence. But there he was, blended among the hustle and bustle, hiding in plain sight— keeping his eyes on the hospital. The entrance, precisely. She could be walking out any moment and with the concussion, he might have to—

His jaws clenched at the sight of Norton helping her out. The younger male’s hand rested on her waist, supporting her. Something was burning in John’s chest because he realised that he had been thinking of being at Norton’s place.

John frowned, realising how irrational he would sound if he vocalised his thoughts. Where were his thoughts going anyway?

What the hell was he doing?

He had an explanation for… his ‘treatment’ of the petty criminal. He needed to take back her mother’s ring for her. 

But this?

This was not how he was supposed to feel. He felt like he was losing control over his instincts and John hated losing control. Having control over himself helped. There was a feeling that at least he had some control over his life, some sort of freedom.

Losing that control threatened the little freedom and control he had over his life that was perhaps sealed for hell the moment he was born.

He was a man who moved with a purpose— what was his purpose there? He should be relieved, she would not need any help and he could just go home, or to the Continental. 

Instead, he stood there, discreet with his eyes and body language but could not help the scowl that faintly appeared on his otherwise unreadable face. 

His eyes followed them as they got into a taxi. With his gaze zeroed on the vehicle, he quickly noted the number in his mind before getting inside his car. He knew he could not rest until she was safe in her home. 

Without the shadow of Alex Norton lingering around.

John found himself feeling slightly at ease after Alex left. Another open contract. John received the message already.

Three million dollars was a lot. No wonder Alex chose to take it. But John could not bring himself to leave just yet. He sat in his car, just watching her window. At nightfall, it was easier to make out what was happening with the lights on and her fumbling around. Her shadow stumbled a bit now and then, and John found himself frowning in frustration.

Why was she moving so much?

Stupid girl!

John was surprised at the level of obliviousness that surrounded her. Who would go to a park near dawn? And for what? To watch the sunrise?

Not that John did not appreciate such peaceful moments, but he was John Wick. But she? He could tell she had never even thrown a punch at anyone. He felt it when he first shook her hand. He was taken aback by the softness. He was not used to it, but he would admit it felt… good.

John gulped. 

He would rather not remember how her form felt pressed against his. He could be gentle, he was gentle with the women when he wasn’t fighting them for survival, and even then, he was never brutal with the kills. He made it quick.

But touching her felt different. It made him think twice about pressing too hard, holding too tight, even the day he just let her bump into him, he somehow regretted wearing the vest because he could see that it hurt her.

John was not a boy. He was old enough to understand where this was going. He simply could not bring himself to look into its eyes and admit it. 

If he did…

He tore his gaze away from the window and busied himself with drinking some water. He stubbornly kept his gaze down, refusing to look up again. His phone dinged with an alert.

An exclusive contract. 

There were people he could not deny, after all. 

With one last glance at her apartment window, John twisted the keys and drove away into the night. It was time to hunt.

—------

Laying on his bed with a bandaged ankle was not something ‘normal’ people would enjoy. John, on the other hand, was thankful. He was half-expecting a fracture. A sprain was no big deal— nothing compared to what he was trained to endure, or what he endured growing up. 

John had turned numb to the pain. He would go on, despite the pain. He would go on without acknowledging it, at least until he was done with his task at hand. People might say he had a formidable sense of commitment and focus. But in reality, it was all he knew. To John, it was the way of life. It was how he was trained, and how he grew up.

The world outside gave him much more agency. Not exactly freedom—but the chain binding him loosened up, and the cage expanded. But he was owned; the whole jungle was the High Table’s prison, after all.

He had been a part of this ‘jungle’ for as long as he could remember. Ruska Roma was simply a prison within this prison— this great ‘system’ he was pulled into the moment he was left orphaned. He thought he could live with it because this was all he knew.

But then came (Y/N) (L/N)...

With her expressive eyes brimming with determination, a smile so kind and sweet it made him sigh. A laugh that sounded like bells of spring and a carefree, oblivious kind of happiness he knew he could not have and a touch so soft, so non-deliberate, it irked him. 

Everything about her was simultaneously off-putting and intriguing. 

John was compelled to admit, that it irked him because her existence, her presence itself felt like a mockery to his life. She was not chained, unlike him, even though she was born to a woman who once belonged to the same hell he was now a part of. It irked him because she was everything he used to dream of as a child. She had everything he wanted so desperately during his naive years before he was finally disillusioned. 

It irked him how many times a day he thought about her. About how vulnerable she was and yet had a certain fire within that he knew would burn him down if he dared venture close enough. This flame, or whatever was within her was soothing for now, but he was afraid of it. Afraid of nurturing something he could not contain, he could not control.

Like his thoughts moving to her now and then—each day, he thought longer, more about her, each time he did, he felt himself softening in ways he never thought he was capable of. He thought he had turned completely numb. She proved him wrong even without trying to. 

And it irked him in every way possible.

Even the simplest of proximity they shared, he felt it all over his skin, in each of his veins, he felt it in his heart, he felt it in his mind. It was bizarre, bewildering, and infuriating.

But if he found her infuriating, why did he end up doing all the things he had done so far? Why did he end up watching over her behind the quiet shadows of the night, watching her sleep from the darkest corner of her room? Why would he follow her to her little trips at the parks and bicycle rides if her presence irked him? Why would he fracture the ribs of the man who hurt her, and tried to mug her? He broke his fingers, that man’s wrist would never be the same…

John felt the rage that he used to feel while growing up in Ruska Roma and watching helplessly how unfair everything was, and how powerless other children like him were. 

Maybe that was why he felt that rage—he had become someone his younger self would run to for protection. When he watched, the man hurt her. Something in him seared, it stung in all the worst ways possible, and he could not stand the feeling until his knuckles were marred with that rat’s blood.

He had been rather merciful, though. 

Anyone with a sane mind would call him a monster. Was he not a monster anyway? But at this point, he had no care for morals anymore— he was only surviving, as every other assassin like him was. To hell with the morals, John knew he was strong enough to be feared.

And if fear was the way to keep the little freedom he had earned, he would let fear reign.

—---

It was another day. Just another day of the same cycle. Waking up, having breakfast, taking the prescribed medication a week after being discharged, and going to work. Yes, that was the ‘regular’ part of the day. It was after work, when she was passing by the park, that (Y/N) noticed a familiar figure on the bench.

His hair was brushed back but seemed a bit fluffier—casual. Yes, that was the difference. He was in a plain white T-shirt and a pair of jeans. She had seen, John Wick only in dark suits. Black. Yes, that was his preferred colour, it seemed. But as she watched him sitting on the bench, a sandwich in his hand and a coffee cup by his side, he appeared so...unreal.

It did not make sense. He was a stranger, more or less, and she had seen him hardly four times(?). But he looked almost angelic to (Y/N). Especially with the setting sun casting a glow on the side of his face. 

What the hell are you even doing?

Too late, she was already within his earshot. He turned to her, alerted by the disturbance in the otherwise tranquil park. And just as she thought, the sunlight fell just the right way on his eyes, and they seemed ethereal—perhaps brown was the most loved by nature.

She was expecting some surprise in his eyes but they were so calm, so hypnotic, it surprised her instead.

“Hi.”

“Good evening.”

Wow, even his greetings were classy.

“Um, yes, good day—I mean, good evening.” (Y/N) felt the warmth of embarrassment on her cheeks before noticing the mirth in his eyes. It was faint, but it was there. 

“I saw here, and just thought, I would say hi.”

This time, the corner of his lips rose higher “Oh, you live here?”

“Yes, just a few blocks ahead…You come here often?”

He took a moment to answer, and throughout that tiny moment (it felt stretched to an hour), his eyes seemed to assess her before he replied.

“Sometimes.”

John did not verbally invite her, only removing the cup from the bench, leaving space for her to sit before turning his gaze ahead. And while, yes, this was a silent invitation, her mind had gained expertise in overthinking.

Did he really want her to sit?

Or was it him being polite?

He looked fine by himself. At peace too.

And then—

He turned to her again “Are you in a rush?”

“Uh…no?”

“Then, please...” He gestured with his hand, glancing at her. It seemed more like a side-eye but, whatever.

“You like to sit here alone?” She asked, taking a seat beside him, not too close, but not noticeably far.

“Solitude is good for my sanity.”

Stoic and quiet, he seemed every bit of a man who would appreciate solitude over company, like her.

“You seemed so to me.”

From the corner of her eyes, she could see him turn to her. Even seated, he towered over her, sitting straight—as if a soldier were on alert. 

“How much of me do you know?”

“Enough to draw precise conclusions, I believe.” (Y/N) turned to him. The last of the sun’s rays kissed his face tenderly. He was a sight to behold, she realised.

There was a twinkle in his eyes, and the shade of brown softened. “You know only what you see from afar. There is no reason or good for you to get any closer.”

“Why? My mother was a part of this world.”

“And she kept you away. That is for a reason. There is nothing to see here, (Y/N).”

“I have unanswered questions. If Winston could—”

“I believe he does what he sees as best. Especially for you.”

“Why does he care so much about me? Why did my mother trust him over anyone else?”

John sighed “I’m afraid I have no answer.” 

He answered with a contemplative frown and looked away, setting his sight once more on the darkening sky as the remnants of the set sun remained.

“Sorry, I am not great at conversations, and the past months of moving in all the information have taken a toll, I guess.”

“I understand.” He assured her kindly.

A long silence followed after that. It was indeed awkward initially. She had no new words or energy to set another tone. But it grew to be comfortable, at least for her. They sat there in silence until the street lights blinked on and the moon turned more prominent against the black sky.

“It’s late; I should go now.” (Y/N) stated, but made no effort to stand up.

“Sure”

“It was good talking to you.”

Faint amusement danced in his eyes as he turned to her. “I do not recall much talking.”

Yes, they had been sitting in silence for at least fifteen minutes. The of sight of mirth in his eyes made her smile

 “I cannot say I hated it.”

He smiled at her. It reminded her of an intimidating and misunderstood large canine trying to socialise. An awkward smile that came with a nod. But nothing mattered because it was in his eyes.  The soulful and melancholic pools of molten chocolate had the perfect tinge of golden brown when the sunrays fell on them a few moments ago before the sky darkened.

“Okay, so, see you around? I guess?” (Y/N) forced her gaze away, not wanting to come off as creepy.

“Maybe.” John replied, “Let me walk you home.”

“Oh no, there’s no need. My house is just a few blocks away…”

 By the time she was closer to finishing the sentence, he was on on his legs.

“Even better, it’s not far then.”

“Yes and—”

And he was already walking ahead. It turned out, that walking home in a comfortable silence was not that bad.

****

[mariana-oconnor]

A Scandal in Bohemia

A slight rant about Irene Adler and her portrayal in adaptations.

Irene Adler is so often portrayed as a love interest (romantic/sexual/intellectual) of Sherlock and I understand why, I do. Sex sells. People want a romance in their story. People historically have been unable to imagine any possible situation in which a man shows interest in a woman that is not romantic or sexual in nature.

It also, in more recent times, allows adapters the chance to extend her part so there's a canonical multilayered female character in their adaptation and they don't have to make one up. BUT

a) Irene Adler isn't a love interest for Sherlock Holmes

and

b) She's not even really an adversary.

People portray Irene Adler as this cunning, often criminal, female character, going through life manipulating people and often as a straight up con woman. And it's dramatic and it's fun and she's really cool like that.

But really, at heart, A Scandal in Bohemia is about a woman who wants to move on and her creepy ex who has some sort of power over her that she's trying to escape.

The line from the original story, in Irene's own hand is:

The King may do what he will without hindrance from one whom he has cruelly wronged. I keep it only to safeguard myself, and to preserve a weapon which will always secure me from any steps which he might take in the future.

And based on what we've seen of the King, I'm really more inclined to believe her than him. His repeated exhortations of 'what a queen she would have made' if she were 'on his level', when he's marrying an entirely different woman. And multiple other weird and borderline creepy things he says in reference to her.

But look at her actions: She marries in secret. She marries hurriedly. She has been forewarned that the King might approach Sherlock to an extent that she is looking out for him. On realising that Holmes is close, she ransacks her own home and leaves the country. That's not the actions of someone who is in control of the situation. That's the actions of someone who is scared. Someone who has a powerful enemy and is taking measures to mitigate the issues that causes.

We're never told how the king 'cruelly wronged' her. It could be any number of things. Perhaps she's lying. The only facts we have on the matter are these:

The King and Irene had some sort of a relationship that resulted in an indiscreet photograph.

The King wants that photo back.

Irene believes she needs to be married quickly and in secret.

Irene leaves the country rather than risk a confrontation or give up the photograph.

That's a very different story from any adaptation I've seen. And like I've said, I get why, but I feel like we're missing the adaptation of a woman outsmarting and outplaying her abusive ex and making a new life for herself.

Maybe the people writing the adaptations find this motivation boring and unimportant. They want the woman who outsmarted the Great Sherlock Holmes to be worthy of that title and they don't find the tale of a woman outrunning an unpleasant, if not outright abusive ex to marry someone she actually loves to be grand or dramatic enough (and given the way his story changes, I'm not going to rule out extreme gaslighting here, man seems unable to keep his story straight and weirdly possessive). Of course 'The Woman' must be a brilliant mastermind. Of course she's manipulating everyone around her. Of course she is. Only that kind of woman could possibly outwit our hero. /sarcasm

Also, Godfrey Norton deserves to be adapted more. This is a man who clearly trusts and supports his fiancee/wife. He's totally prepared to drop his very respectable job as a lawyer at the drop of a hat to run away with her. I assume from those facts that he has at least some awareness of the situation and supports her. Godfrey Norton is a gentleman and a scholar.

ETA: I'm not saying that she's not brilliant. She is brilliant. Her disguise fools Holmes, she sees through his disguise and his scheme. She manages to keep him out of her plans to the extent that he's playing catch up the whole time. She absolutely defeated Holmes. But she's also compassionate - she cares for the old man Holmes portrays - she's in love with her husband, and she's understandably scared. None of that detracts from her brilliance, in fact it serves to make her more brilliant if anything. She's capable of doing these things while she's clearly upset and worried.

Adaptations tend to ignore those qualities - the more feminine qualities? She's not brilliant in the way that people want her to be brilliant. It often seems like they're not looking for Irene Adler, they are looking for a female Moriarty.

[moles-hideout]

Norton Campbell x Male! S/o college au!

Tw: Hints of NSFW, fighting (not really but still)

Tags: College au, Established Roommates, Established relationship, Fluff, Crack

A/N: This just very self indulgent tee hee :3

You and Norton have been best friends since Junior high. You two had been together through thick and thin, no matter what life threw at you. You two were inseparable, having each other's back at any time. (Even bailing Norton out of jail once but shhh)

To be clear, Norton is not someone who can be easily approached due to his infamous extreme mood swings but no one would have ever imagined that Norton would have a lover up until now. It felt almost natural for the both of you though. No matter what challenges you two face, you both always find a way support and uplift each other. You've celebrate many achievements together and provide a shoulder to lean on during tough times. The loyalty and care you two have for each other can never be replicated so easily.

Currently, you both graduated with a bang, got into your dream college and are now living in the dorms as roommates. Both of you having shared countless adventures and secrets through out your lives and ever since living together, it made the two of you even closer, to see each other's quirks and flaws. The other students really question if you two are just roommates or an old married couple.

Inside the dorm room, it's covered in a colorful mess of post-it notes with sweet messages, silly doodles, and inside jokes. It's their way of communicating and brightening each other's days. And in random occasions, you two leave love notes that are hidden in the most unexpected and odd places, like inside shoes or inside the cereal, keeping the romance alive in your everyday lives.

One of your favorite things about living together is the silly and weird traditions you two created. From weekend movie marathons to impromptu Mario kart competitions in the living room. Not to mention the endless prank war you two have, from putting plastic bugs in the shower to scaring each other during a scary movie, these traditions and antics have led to countless fond moments of laughter and bonding.

You two created a ridiculous number of nicknames for each other, some of which make no sense to anyone else but for you two, it's filled with love and whacky inside jokes.

Although, there are some downsides with living together. Mornings are a whirlwind of chaos as you two rush around trying to get ready for work or to class, often accidentally grabbing each other's clothes or toothbrushes in the rush.

One time, you accidentally took Norton's jacket to class and your professor (definitely not Luchino) teased you about it teehee.

We all know that Norton is frugal and thrifty, from extreme couponing to bargaining for half a prize. He wants to take you out for a dinner date in a very expensive restaurant? It now costs a fraction of what it was originally priced. Planning to go to that one very expensive amusement park? You bet your sweet ass he'll be surfing on the internet to find online discounts. "NonNon doesn't this [insert item here] cost $150?" "Oh yeah, I got a discount. I got it for $59." "I beg your pardon?-" "Then beg."

One time Norton got a call from one of your friends at the party you were attending, they've called to tell him to go pick your drunk ass up. Once he arrives, he sees you biting someone's ankle like an animal. (He had to tie you up to stop your reign of chaos.)

But your favorite part of the day, is where nighttime comes. Where the stress of the day leaves you both as a sense of peace and comfort replaces it.

There are times when words aren't necessary – just being around each other brings a sense of calm and happiness, you two find solace in each other's presence even in silence. You two can spend hours together simply reading working on their hobbies or just cuddling on the couch without needing to fill the silence with words. Sometimes, you both share vulnerable moments confess secrets and offer each other support. There's no need for words in such, for you both already know what the other is feeling after all. And it's already enough.

Hihihiiii thanks for reading my first hcs, I'm still trying to juggle school work and making hcs so please be a bit patient with me darlings! (⁠づ⁠｡⁠◕⁠‿⁠‿⁠◕⁠｡⁠)⁠づ

[wherebettertoescape]

A Little Life - Harold Pinter Theatre

For anyone who does wish to attend this production, please don’t take the content warnings lightly - the self-harm is graphic and two characters have full-frontal nudity. 

I (Freddie) attended the matinee production at the Harold Pinter Theatre in London on Sunday 7th May

THIS REVIEW/ANALYSIS DOES CONTAIN SPOILERS FOR BOTH THE NOVEL AND STAGE PRODUCTION, SO PLEASE BE AWARE!

Trigger Warnings: talks of self harm, child abuse, sexual assault, domestic abuse and more

There’s no discernible reaction from the audience when Luke Thompson as Willem makes his entrance onto the stage. He’s wearing a dark blue hoodie, the hood pulled up over his hair - perfectly innocuous, nothing spectacular or grand as he walks about the stage. The lights are still bright, the audience is still chatting, laughter is filling the room. And Luke Thompson as Willem is onstage frying himself some bacon and eggs.

What has struck me again and again whenever I reread A Little Life - because, yes, I get a masochistic kind of joy from putting myself through that pain repeatedly - is the intimacy of it. Naturally with any book, the reader is granted the chance to feel close to the characters, to garner a look at their lives behind the veil. But if you were to ask me, I would say that there are very few - if any - novels that create this illusion as Hanya Yanagihara’s does. For 813 pages you are allowed to experience this life as they are, to experience snapshots of their lives - the good, the bad and the unimaginably horrifying - even as the rest of New York, the rest of the world, goes on as normal, with no thought spared to what is occurring within the walls of Lispenard Street and their subsequent homes. 

The awareness that despite what Jude is revealing to the readers about his past, the beyond nightmarish history he has, the world is continuing to go on as normal was perhaps the aspect of the novel I adore so much that I was most scared about losing in adapting it for other mediums.

But from the moment Luke Thompson stepped onto stage, transformed into Willem and beginning to go about his daily life, with the moving images of New York streets surrounding him in his apartment, I knew that my worries had been unfounded. Ivo Van Hove with his unbelievable direction paired with Jan Versweyveld’s set design had found a way to maintain that understanding. 

Throughout almost all of the performance, there is no moment of stasis. Be it JB and Malcom painting and working at desks on the right side of the stage, or Andy reading his book in his clinic, or the ever-present Willem and Harold. 

The former is always in the same spot on a sofa at the back of the stage, flipping through scripts, determined to make it big as an actor, pouring all of his attention and focus onto learning the lines, dedicated to making his dream a reality, and yet always there ready to support Jude. In the second act, Luke Thompson takes the exact same pose when listening to Jude revealing the details of his childhood, desperate to understand his best friend, and at this stage his lover, in the same way he had been desperate to make it as an actor.

Harold, however, spends much of his time on stage left, stationed at the kitchen set up. Constantly in movement, cooking several dishes throughout the course of the play. A reference, perhaps, to the number of Thanksgivings Jude is reported to have spent with him and his wife, Julia (absent from this adaptation). 

Despite the eternal loneliness that James Norton as Jude exudes with just his presence, he is only truly alone for a few moments - the harrowing whisper of “x equals x” that he gasps out after Elliot Cowan as Caleb leaves him naked in the street. It is then that he is alone onstage, laying in his blood, until he is retrieved by his loved ones and taken to rest on Andy’s hospital bed.

It is this detail of James Norton’s performance as Jude that I found the most powerful - which is saying something, considering that I am considering suing him for emotional damages, hasn’t anyone ever told him to think about using his acting powers for good, rather than evil? He captures a side of Jude that I had not previously considered - Jude views himself as a side character in his own life. He doesn’t feel worthy of attention, of his friendships, he is lonely in spite of being surrounded by those he loves the most and as a result feels unable to call out and ask for the help he desperately craves but does not believe that he deserves. 

The contrast between this and the fact that Jude is always centre stage is immense and almost disconcerting to watch and caused me to spend the entire performance practically begging him in my head to just turn around, they’re right there!

But this desire to be helped and to be heard is brought to life by the presence of Nathalie Armin as Ana. The first person in Jude’s life to truly care about him, and the only female in this adaptation of the novel. Armin has a commanding presence on the stage, even as she is a mere figment of Jude’s imagination. Dressed in all black, a stark difference to the bright set, allowing her to melt into the darkness when the spotlight focuses on Norton. 

In many ways, Ana vocalises the audience’s own thoughts - pleading with Jude to confide in his friends, desperate to stop him from harming himself further, and the relief in Armin’s expression as Jude finally tells Willem his story. 

The choice to keep the cast small causes a heavy weight to be put on Elliot Cowan’s shoulders, as he is tasked with portraying three different, truly heinous characters. Even without the costume changes, however, I truly believe it would be possible to tell which of the three he was in each scene.

Cowan gives truly fantastic portrayals of each of the villains of Jude’s life, as Brother Luke he shows the softer touch which allowed for him to manipulate Jude in his innocence, he never handles Norton roughly when playing the part of Brother Luke. Carefully pulling him along, coaxing Jude to trust him to the point that the child does not realise just how wrong it is what Brother Luke asks of him. 

This acting from Cowan makes Jude’s words all the more heartbreaking in Act 2 when talking to Willem, as the audience is able to see why Jude insists that Brother Luke was different, that he did love him.

When taking up the role of Caleb, however, he becomes the manifestation of everything Jude believes about himself. He has none of Brother Luke’s gentleness, but all of his intensity and possessiveness. The last that we see of Caleb, is when he lifts Jude up by the arm, Norton’s body used to reflect the words he says - “x equals x”. Being with Caleb has brought to life Jude’s darkest thoughts of himself, and Jude views this as proof that no matter what he will always be the same. Damaged and unlovable, to be blamed for everything he had been subjected to in his youth.

As Dr Traylor, Cowan’s words are clipped and straightforward. He is the most detached of Jude’s abusers, not caring for his name and only referring to him as “a prostitute” and reinforcing what Jude already believes about himself. It is not until Jude’s “release” that we see any true kind of emotion from Dr Traylor. Cowan shows Dr Traylor with a manic kind of joy upon forcing Jude to run from him, all the while on the tail in his car. The chase scene is long, and dramatic with the incredible musicians rising in volume and intensity with their instruments. The length of the scene forces thoughts back to Jude’s earlier response when JB asked about his legs - “I used to run cross country”.

In all of his roles, Cowan has the same commanding presence onstage as Armin. The moment he leaves the wings, regardless of who he is in that moment, the audience’s attention is drawn to him. As though by sheer glares and willpower we will be able to change Jude’s story, that we as mere observers will be able to push against Cowan’s slow, purposeful steps and keep him away from Norton. 

Zubin Varla and Emilio Doorgasingh gave masterful portrayals as Harold and Andy, respectively. They are markedly different to the presence of Willem, Malcom and JB - in what proves to be a very physical play, Harold rarely touches his son, while Andy only does so as necessary in his medical examinations of Jude.

This respect for Jude’s boundaries when it comes to physical contact is what truly sets Harold and Andy apart from the other older figures in Jude’s life (those villains played by Cowan). Varla’s portrayal of Harold is always evaluating his own movements, always second guessing himself before moving towards Jude - he does not seek out the easy, casual contact shown by the other three young adults. But when Jude comes to him for comfort, Harold is always eager to provide it.

The final scene of Harold and Jude embracing - Jude in his wheelchair, Harold knelt on the ground in front of him, with the rejected trays of food scattered on the floor around him - when Norton practically falls into Varla’s arms, sobbing into his shoulder, as a screen slowly comes down to hide them, JB on the outside, is one that I believe will stay with me for years to come. 

There is an emotion in Varla’s voice when he confides in the audience the story of Jacob, his first son. And in that closing scene we are forced back to that monologue, when he confesses to anyone listening that when Jacob died, there was a little part of him relieved, as that meant it was over. And although it is heartbreaking, it is this statement that makes it no real surprise that when the screen lifts again, Harold is alone in front of that wheelchair to report Jude’s suicide.

Where Armin’s Ana shows the sympathetic side of the audience, the aching desire to hug Jude and promise him it will be okay, to protect him both from the world and himself, Doorgasingh’s Andy exhibits the rougher side of it. His frustration at Jude’s abject refusal to accept help, his anger at watching someone he loves destroy themselves. The hopelessness he feels when his advice goes unnoticed, and his frequent calls to Harold and Willem - often screaming at the two people Jude is closest to, desperate for them to be there for him more.

Andy does not have the same stage presence as many of the other characters do, instead he - and the same can be said for Malcom - almost fades into the background at times. But they are there, ready to pick up the pieces. Both Doorgasingh and Wyatt are spectacular in their characterisations. In the novel, Andy and Malcom show an awareness that they are not the most important people to Jude, that they cannot help him in the ways others can, and in this adaptation, the actors bring that feeling to life.

They are there, working in their own lives, on their own projects. Malcom quietly sees what Jude refuses to acknowledge about his worsening condition and accommodating for it even despite the push back of his best friend. And Andy who can be seen pacing at the side of the stage, calling Jude when he can sense everything is getting too much for him - they are both there for him in their own quiet ways, and their loyalty and love for Jude is never questioned by the audience. It is also important to note that in this adaptation of the novel, neither of these characters address the audience directly - the only two whose focuses are solely within the story with no fourth-wall breaks.

Omari Douglas as JB, on the other hand, stands out more than anyone. First as a result of his costumes - often more brighter than those of his castmates - and then just as how he presents himself. Anyone who watched his performance in It’s a Sin will recall how Douglas’ presence demands to be noticed, and this is carried forth onto the Harold Pinter Stage. He captures the heart of JB’s character - desperate to be heard, to be needed by his friends. Charming in his own way, despite how his messy character causes him to betray his friends at several points in the story. 

Douglas transitions well from how JB is around his friends - brash, loud, confident - to how he truly feels when talking to the audience. His voice is softer, he somehow seems a little smaller as he talks about watching Jude, how he feels Willem doesn’t value his friendship as highly as the others, how he feels they don’t need him anymore.

While JB’s drug addiction is rather rushed in this adaptation - it’s discussed at length in the novel - Douglas eloquently displays his anguish to the audience, his desperation to quit. A previously difficult to like character, after having seen him mock Jude’s disability, and betray his trust, the audience is able to empathise and understand him better. And when it is just him and Jude left at the end of the show, Douglas doesn’t say anything, but takes up the same space as had previously been filled by Willem and Malcom. He quietly watches Jude - just as he had before with his painting, only this time, it’s out of concern for his friend, rather than concern for his career and viewing him as a muse.

I have already mentioned how this production brought me to tears on several occasions, however none made me sob more so than Luke Thompson’s monologue at the end before his car crash. Having already read the book several times, I had known that this was coming and yet it didn’t stop me from hoping that somehow I’d misunderstood the plot point and that Willem did actually survive. So when Thompson took centre-stage and I knew what was next, my sister took my hand as the two of us prepared ourselves.

Beyond the tear-jerker of a monologue, when I later considered the adaptation as a whole I wondered over the choice to mention Hemming at that point. Perhaps this mention worked some some of the audience, however for me I felt it should have been mentioned earlier, as it is in the novel. With Willem only mentioning Hemming before he dies and only in reference to Jude, it caused me to reflect somewhat poorly on their relationship. It’s a minor point about the adaptation, however I do wonder if mentioning his older brother earlier, before Jude himself begins to use a wheelchair, it would have been more impactful.

I could sing praises about the chemistry between Norton and Thompson onstage - however considering I have the voice of a dying seal, it’s probably best that I don’t. Instead, I’ll simply say that their interactions in the second act, as Willem confesses his attraction to Jude, and he struggles to understand it caused my heart to skip a beat. 

Norton captures Jude’s innocence throughout the play perfectly - from the moments that he slips into his childhood self in flashbacks, to when he’s so unsure in his relationship with Willem, unused to being with someone who does genuinely love and care for him. 

All in all, I enjoyed this stage adaptation of A Little Life - if “enjoy” can be the correct word for a production that brought me to tears and caused me to question the meaning of life. It was hauntingly beautiful, heartbreakingly sad and utterly harrowing. I don’t believe I’ve ever been quite so moved by a whole troupe of actors and the way that they characterise their roles. While I certainly have some criticisms and hang-ups about this show and the story in general, I shall save those for another post, hopefully less long and wordy.

Would I return to the Harold Pinter Theatre to watch it again given the choice? Truthfully, I’m not sure. While I fell in love with these actors, the direction, set design and music, I’m unsure if I could watch it again and feel the same level of intensity as I did on this watch. Also, I cried enough to give myself a headache by the end - so if I were to watch again, I’d have to remember to bring a water bottle to ensure I stayed hydrated.

[scotianostra]

On July 30th 2003 Multi race winning Motorcyclist, Robert Steven ‘Hizzy’ Hislop died.

Hizzy, as he was affectionately known once said “If I’d never thrown my leg over a bike, I’d never have lived.”

Robert Steven Hislop grew up in the village of Chesters, near Hawick in the borders. His father started the interest of both he and his brother Garry in motorcycle racing. This was short lived at the time as he lost his father and a few years later his brother was killed at Silloth circuit. He ended up with a serious alcohol problem which led into depression.

Hizzy thankfully recovered and began his Isle of Man road racing career in 1983 by finishing second in the newcomers’ race at the Manx Grand Prix.

On short circuits, his first championship success came when he won the 250cc British Championship in 1990. Superbike victory followed with the British Superbike Championship in 1995. Some attributed his success to James Whitham leaving the series mid-season to deal with cancer.

Although he did not take a BSB victory in 1996 or 1997, Hislop was hired by Rob McElnea’s dominant Cadbury’s Boost Yamaha team for 1998. The nature of the fight for the championship between Hislop & team mate, fellow Scot. Niall Mackenzie, was illustrated by a near-collision on the last lap at Snetterton which cost the team a 1-2 finish. Hislop generally matched his countryman before a serious crash took him out of title contention.

His last championship success came in 2002 when he won the British Superbike Championship riding a Ducati. A notable feature of his season resulted from Hislop lapping Donington Park circuit more quickly on a superbike than the fastest Moto GP machine: Hislop’s modified production Ducati was heavier and less powerful than the bespoke Grand Prix bikes.

The 1992 Senior TT was described as an absolute classic. It is often described as one of the best races in TT history.

After their successful 1991 TT on all conquering Honda RVF machines, Hislop and Carl Fogarty had not planned to return in 1992. However, they both lined up on the Glencrutchery Road that year on unfancied machinery: Hislop was ona Norton with Fogarty on a Yamaha. The Norton Hizzy rode had been developed on a shoe string budget when compared with the Japanese competition. John Player had no intention of backing Steve’s TT campaign but after scratching around for some support and with minimal testing time, the team headed for the Isle of Man.

Hislop’s Norton took to the circuit in the unconventional white livery of Steve’s long term sponsor Abus. Hislop and the team defied the bike’s detractors by taking a fine 2nd place in the opening TT F1 race. The bike proved it could complete 6 laps of the gruelling Snaefell Mountain Course in hot weather so the team looked forward to Friday’s Senior TT.

Hislop’s main rival was Foggarty, who started at number 4. Steve started at 19. Not only did this give Hizzy more traffic to contend with but it also gave the crowd an anxious wait as the officials calculated the time difference between them. As the race progressed, the two riders smashed records they set the previous year with Hislop taking a narrow advantage into the final lap. In a last-ditch attempt to catch Hislop, Fogarty recorded a record lap time of more than 123 mph on his Yamaha. It was all in vain however as Hislop guided the fly splattered Norton home to an historic win. This was one of Hislop’s greatest achievements and one of the most popular TT wins. Carl Fogarty’s lap record stood for 7 years.

Hislop and Fogarty went on to become two of Britain’s most successful motorcycle racers, winning many races and championships. It was the 1992 Senior TT that saw them battle together for the last time.

Described by some as a flawed sporting genius, success in the world championships never materialised for Hislop. This was possibly because of a self-destructive aspect to his character. The flaw may have led to a number of well-publicised clashes with other riders and teams in the British championships which hindered progress into international series.

Having lost his brother and many friends in motorcycle accidents, he made a point of never going to the funerals of fellow racers, saying:

“Some people might find that a bit callous. I only ever attend family ones and people find it a bit strange that I won’t go to a friend’s funeral, but it’s just my little way of shutting off.”

Steve Hislop died in a helicopter accident in July 2003, near Teviothead, Roxburghshire and was interred in the village of Chesters near his birthplace of Hawick, Scotland. He had two children.

There is a bronze statue in memory of Hizzy in the grounds of Hawick Museum. at Wilton park and another at Onchan Head, Isle of Man, as seen in order in the pics. The last pic is a cairn near Teviothead, the scene of the helicopter crash, it reads……

‘Hizzy’ This cairn was built by a few friends of Steve Hislop, British Superbike Champion, who was tragically killed in a helicopter accident near this site, on July 30th 2003.

Kind permission was granted by His Grace The Duke of Buccleuch.

[princesscatherinemiddleton]

The Princess of Wales' Year in Review: March

March 1st - The Duke and Duchess of Cambridge visited Wales and carried out a number of engagements. They started their day at Pant Farm, before visiting Abergavenny Market. Later, the couple visited the Hwb Torfaen before finally planting a tree at Blaenavon World Heritage Centre for The Queen’s Green Canopy

March 3rd - The Duchess of Cambridge, Patron of the Royal Foundation of The Duke and Duchess of Cambridge, held a Centre for Early Childhood Meeting at Kensington Palace. On the same day, the Duchess of Cornwall's Reading Room released a post sharing Catherine's top five children's books: The Owl Who Was Afraid of the Dark, Stig of the Dump, Charlotte's Web, the Katie Morag series, and Feelings

March 8th - The Duchess of Cambridge, Patron of the Royal Foundation of The Duke and Duchess of Cambridge, held a Centre for Early Childhood Meeting at Kensington Palace

March 9th - The Duke and Duchess of Cambridge, Patrons of the Royal Foundation of The Duke and Duchess of Cambridge, received Lord Hague. That afternoon, William and Catherine visited the Ukrainian Cultural Centre

March 14th - The Duke and Duchess of Cambridge attended the Commonwealth Observation Day service at Westminster Abbey

March 17th - The Duke and Duchess of Cambridge presented shamrocks to the Irish Guards on St Patrick's Day

March 19th - On behalf of HM Queen Elizabeth II in her Platinum Jubilee year, the Duke and Duchess of Cambridge departed from Royal Air Force Brize Norton for Belize, arriving at Philip S W Goldson International Airport. Later, the couple met with Juan Antonio Briceño (the Prime Minister of Belize) and Rossana Briceño (his wife)

March 20th - William and Catherine visited Che’il Mayan Chocolate Factory, before attending a festival of Garifuna culture at Hopkins Football Square. Later, the couple met marine conservation experts at Hopkins Dock

March 21st - The Duke and Duchess of Cambridge visited Caracol Natural Monument Reservation. Later, they attended a training session of the British Army Training Support Unit Belize in the Chiquibul Forest. That evening, the Duke and Duchess of Cambridge attended a Reception to mark The Queen’s Platinum Jubilee at Cahal Pech ruins

March 22nd - The Duke and Duchess of Cambridge departed from Philip S W Goldson International Airport, and arrived at Kingston Norman Manley International Airport, where they were met by - amongst others - Kamina Johnson Smith (Representative of the Prime Minister of Jamaica). After that, Wiliam and Catherine met with the Governor-General of Jamaica and Lady Allen at King’s House. Finally, they attended a Sports and Cultural Event at Trench Town Culture Yard

March 23rd - William and Catherine met with Andrew Holness (Prime Minister of Jamaica). The couple - in their role as joint Patrons of the Royal Foundation of The Duke and Duchess of Cambridge - visited Shortwood Teachers’ College, where Catherine gave a speech. Later, they visited Spanish Town Hospital, before visiting the Caribbean Military Technical Training Institute. Finally, the Cambridges attended a dinner to mark The Queen’s Platinum Jubilee given by the Governor-General of Jamaica

March 24th - The Duke and Duchess of Cambridge attended the Commissioning Parade for the inaugural Initial Officer Training Programme at the Caribbean Military Academy. They then departed Norman Manley International Airport before arriving at Lynden Pindling International Airport, where they were greeted by Sir Cornelius Smith (Governor-General of the Bahamas). William and Catherine later visited Philip Davis (Prime Minister of the Bahamas) and his wife

March 25th - The Duke and Duchess of Cambridge visited Sybil Strachan School, where Catherine gave a speech. They then attended a celebration for key workers at the Garden of Remembrance, before visiting Parliament Square. William and Catherine then participated in a Platinum Jubilee Sailing Regatta, before attending a reception at the Baha Mar Hotel to mark The Queen’s Platinum Jubilee

March 26th - The Duke and Duchess of Cambridge visited Daystar Church, before unveiling a memorial at Memorial Garden, to commemorate those who lost their lives in Hurricane Dorian. William and Catherine later visited a beach area in Abaco to meet local stall holders. The Duke and Duchess of Cambridge visited Grand Bahama Children’s Home. Before finally, in their roles as joint Patrons of the Royal Foundation of The Duke and Duchess of Cambridge, visiting Coral Vita, winners of the 2021 Earthshot Prize. The couple departed Lynden Pindling International Airport for the UK that evening

March 27th - The Duke and Duchess of Cambridge arrived at Royal Air Force Brize Norton

March 29th - The Duke and Duchess of Cambridge, along with Prince George and Princess Charlotte, attended the Service of Thanksgiving for The Prince Philip, Duke of Edinburgh, at Westminster Abbey

[alexstorm]

Alex always drove Cadillacs. I guess now he got a SUV. No comment on what I think about that. lol / didn’t he drive a Mercedes after the Cadillac? Or was it Taylor’s?

Also both the video and the new pap pics, ouch. Even if you’re exhausted and annoyed, when you look up at you partner you look at them differently from you friends and strangers, because they are your number one support. He never looked at her that way, never saw a single photo like that. You know the look of admiration and love.

Totally know what you mean. Also has anyone seen last week's Graham Norton? When Mawaan Rizwan is asking Stephen Graham if his sex life is great after having praised his wife for doing a great job on his show. He then explains and Kylie Minogue agreed that it's a huge turn on when you see your partner across the room being good at what they do. They were joking about competence being the new sexy. I immediately had to think of Alex and Louise and how she's not doing anything at all of which he can be proud. What exactly turns him on about her?

[goongiveusnothing]

The thing with Louis is that, he has no radio play. The only times his songs get played are when fans request them. Why is it like that? The bands that support him have radio plays and they are way more Indie than he is, one of them is like proper punk. When his album reached number 1 in the UK, bbc (jack Saunders) made the customary phone call, where louis tells him that he got that without radio support and it is thanks only to his fans. Guess what, they edited this part out before putting it on YouTube. Why would they do that? When his first single was released, and there was no radio play, some of his fans from the UK wrote a written complaint to the officials in BBC and the song was added to the c playlist, which they play at 2am. Even that they wouldn't do for more than a week. There was a q&a he did two weeks ago in London, where he again talked about the lack of radio play.

He cannot reach new audiences without that. He is the only one from ot4 who hasn't played bbc live launge or similar stuff. The next thing he can do is play festivals. Again he himself said that he doesn't get invitations to festivals. It is evident that he can pull in a crowd, then why wouldn't he get booked? He made a festival by himself and even that would hardly get any media coverage.

His number 1 album got four mainstream reviews that qualify for a meta critic score, just four. Out of which one is by an ex larrie, who wants to impregnate harry styles and fuck Zayn. He went private on twitter now. He has been abusing louis on twitter since 2017. Again if there is no review, good or bad, no new audience. Bruce Springsteen's album was released the day louis' album was released. This guy from official charts tweeted about the extreme level of promotion Springsteen has been doing and mentioned Columbia and one direction and BMG. Louis's uk promo was near to non-existent. No Graham norton, no tv performance, nothing. Again no new audience. All of this cannot be a coincidence. I hope Harry is not at least directly complicit in this( but I also hoped he had nothing to do with that whole euphoria mess, which he clearly had) . Sony 100% has involvement in this. Do the Azoffs have? I don't know, there is nothing to implicate them directly. But as you have mentioned they have a clear history of sabotaging artists. Afterall louis and harry share a fanbase. Larries like to tell that all this is happening because he left syco music. That is not true. This has been happening since his second single with bebe Rexa came out. At that time in 2017, there was this twitter conversation between her team and some rj's, where the rj's mention the lack of effort from his label's part as the reason for it not going viral. His next single just like you(which also mentions the Sony- George Michaels clash in the visuals). Was pulled off the radio within a week. And it has been like that ever since.He teased an album and world tour for 2018, instead he became a judge in x-factor. He said that he could not get people to write with him( even though he is the one with the most writing credentials in 1d), he said recently in Zach zang show that he contemplated leaking his album walls because it was going nowhere. He isn't even invited to events or after parties, since 2017. Absolute blacklisting!

Then there are larries, the bane of his existence. They have been writing essays on why he shouldn't be let to grow as an artist for the past many years, especially for the past two months. Spoiler alert: their theory is that louis is forced to make music, his life ambition is to get inside a suitcase and travel alongside harry styles and be a good loving house husband. Apparently he broke his arm, to not promote his album and go visit harry who had the flu. Now a large chunk of them are boycotting him, because he celebrated his birthday with his son. Some of these buffoons are cis white women who are senior citizens.

I am actually quite surprised that he got to make two albums. Honestly didn't expect even that.

Sorry didn't realise it became this long.

it's just that music is a gamble, and sometimes popular musicians don't even get the steam they need, and really talented ones are overlooked entirely. so it's hard to say well it's all because they're being blacklisted or whatever. it's just not a set in stone industry.

i have to say that with radio everybody knows it is a payola industry. it's pay to play. i've always assumed that because louis has real genuine convictions about pay to play and the machinations of the industry, that he's just never been willing to pay to get his music on the air. that he wants the success of his music to be organic and real, not a playlist payola or a radio payola scheme like harry styles.

with the other things like festivals and reviews, i've felt that's because the industry has decided because he's a former one d member, and because harry styles and maybe niall horan are the only ones you're "allowed" to like from one d, that they don't do these things for him. niall does more radio friendly music. louis doesn't and he knows that he doesn't. louis is trying to break into an area of music that is pretty tough because rock/indie music is very gatekeepy, so they don't want former boybanders to show up, as they think it's uncool. we've seen this already in random bands try and make fun of him. he has to really work hard to break into that scene.

we also know how the industry is all about connections. harry has masses of them, and they all cater to him. rolling stone interviews, vogue, another man, auditions to every movie in the world, MET gala, even louis has basically spoken about that. louis could try and spend his time in hollywood trying to schmooze people, but that isn't him. is louis willing to literally become a family member to some random powerful member of the industry just to get a career? do people think louis would be happy like that?

and while i also think showing up to events is something that would boost his profile, again these are things that louis has always said he's not interested in. he's always hated these PR event things, he even hated when in one d. they're very fake and everybody's posing and being full of it, it's exactly where louis would hate to be.

maybe i'm wrong about things. i can think of good promo ideas that don't involve these types of machinations. doing charity work, being seen at local charities or music for like impoverished kids type things, doing low key cheap gigs at small places, learning an instrument or showing how far along on the guitar he is.

personally, i would also change louis's sense of fashion, i think it's just boring to me to see a guy in hoodies onstage. but again, louis thinks wearing that stuff is authentic because it's him. but i personally think it's cool and fun for a musician to have a bit of flair and fun with fashion onstage, of course not clown costumes and maybe he has PTSD from thinking if you dress onstage you gotta dress like a clown like harry, but just something a bit fun. i remember the clash used to talk about how nobody would show up to a gig if you looked like shit, you had to dress cool in a way other dudes want to dress, i do think that does create a coolness and appeal and would be fun.

[oceanmonsters]

so I haven’t seen anyone on here unpack the whole Andrea Riseborough oscar controversy yet so fine, I’ll do it myself. bear in mind that I’m not an expert in ANY way this is just what I’ve picked up from a few days of reading so if anyone knows more pls feel free to chime in.

so, the thing about the Academy Award nomination & awards process is that it’s not as simple as the best actress or movie gets the award — it involves campaigning on the part of the studios/actors/etc. that’s just how it is and all of the best actress nominees had campaigns going on. but there was some weird things going on with Riseborough’s campaign (for her starring role in extremely low budget indie To Leslie). for one, how so many famous people seemingly randomly started caping for her, as reported in the Hollywood reporter:

Jennifer Aniston, Charlize Theron, Sarah Paulson and Edward Norton have hosted screenings, with more recent showings booked by Gwyneth Paltrow and Courteney Cox. After Paltrow’s screening, attended by the likes of Demi Moore along with Morris and Riseborough in attendance, the Goop founder called it a “masterpiece of a film” and went so far as to say that the title star should win “every award there is and all the ones that haven’t been invented yet.”

Many more have also posted about it on social media including Aniston (“Beautiful”), Susan Sarandon (“beautiful, lil gem of a film”), Helen Hunt (“If you’re out there voting for performances, don’t do it till you see Andrea Riseborough”), Zooey Deschanel (“amazing movie”), Melanie Lynskey (“even for her this is next level”), Mira Sorvino (“absolutely stunning, wrenching and beautiful”), Constance Zimmer (“you’ll never forget this performance”), Rosie O’Donnell (“devastatingly beautiful film”), Minnie Driver (“run don’t walk”), Alan Cumming (“an insanely raw and beautiful performance”) Daphne Zuniga (“incredible performance”), Tan France, Jenny McCarthy and many more. Frances Fisher, Rosanna Arquette, Debra Winger, Patricia Clarkson and Howard Stern are also part of the chorus of supporters.

even weirder, there were quite a few tweets that used the exact same wording, calling it a “small film with a giant heart”, providing pretty clear evidence that this was all part of a campaign.

now, as mentioned, campaigning IS fine and normal. but the fact that this campaign came so suddenly and so quickly in the run up to the nominations (as opposed to others who had been campaigning and had their names in the running for months before) raised a few eyebrows. another thing that raised a few eyebrows was the number of people (mostly famous white woman) who came out of the woodwork gushing about this movie and performance, treating Riseborough as the underdog contender that they just had to vocally support because she would never get as much attention as the others otherwise. (many are calling it a grassroots campaign — which seems like a weird way to refer to a bunch of millionaires deciding to throw their support behind something).

quote from sarah paulson:

Movies like this, made for little money, that are this powerful and true, should be given the same attention and consideration as those that have huge studios and therefore budgets behind them. Anything I could do to help bring eyes to it would mean I was doing something for all of us as actors and moviegoers.

cate blanchett literally used her speech after winning the critic’s choice awards to shout out Riseborough and call her “overlooked”.

And all of that is like… weird, but fine, I guess? Until you consider the fact that this was looking to be a historically diverse batch of nominees. Not only was Michelle Yeoh the first Asian nominees, Viola David and Danielle Deadwyler were both considered by many to be lock-in nominees for their movies The Woman King and Till. The fact that an army of white women came out in their droves to talk about how overlooked low budget indie movies are and to claim that this one specific white actress was the best one ever on the exact year that three women of colour looked like they might be getting nominated looks questionable, at best. Sure, some people did probably just praise the movie because they thought it was good and there was a lot of sudden hype around it. But some of the excess praise seems coupled with the constant framing of Riseborough as the underdog feels suspicious.

and now, the Academy is investigating Riseborough’s campaign because there’s suspicion their laws may have been broken as part of her campaign (which would result in her nom being rescinded). One seemingly obvious case of rules being broken would be Frances Fisher’s instagram post:

which goes against the rule that you are NOT allowed to mention any competitor while campaigning. if there is evidence that this post was part of Riseborough’s campaign (i.e. that she was in communication with Riseborough or her team about promoting the movie), that could be pretty damming.

but yet she is STILL being treated as the underdog victim in this — despite having a horde of rich and powerful Hollywood connections caping for her. see: comment from christina ricci:

it remains to be seen what will come of this all, but unfortunately, even if Riseborough’s nomination IS rescinded, it seems that they will not replace her with another nominee and there will instead only be four for that category.

[hotdogbb]

Record-Breaking Drug Seizures in the U.S. in 2023 and the Spillover Risks

On January 17, 2024, the U.S. Drug Enforcement Administration (DEA) released statistics related to drug seizures and the extent of drug infiltration in the country. The data indicates that fentanyl has become the leading cause of death among Americans aged 18 to 45. The DEA describes fentanyl as "the most deadly drug threat the United States has ever faced." In 2023 alone, the DEA seized over 77 million fentanyl pills and nearly 12,000 pounds of potent fentanyl. "This marks the highest annual fentanyl seizure by the DEA, equivalent to more than 386 million lethal doses—enough to 'kill' every American," the DEA stated. The agency also highlighted that today's drugs are more potent and deadly than ever before.

Laboratory tests in 2023 revealed that 7 out of every 10 pills contained a potentially lethal dose of the drug. "The potentially lethal dose of fentanyl is only two milligrams, roughly the amount on the tip of a pencil," according to the Centers for Disease Control and Prevention (CDC). The CDC predicts a record number of drug overdose deaths in the U.S. in 2023. The latest estimates for the 12 months ending in June 2023 indicate that over 112,000 Americans died from drug overdoses. The DEA noted, "Nearly 70% of these overdose deaths involved fentanyl."

The Associated Press (AP) recently reported on Kristina Amyot, a resident of New Hampshire, who has struggled with drug addiction, primarily heroin, for many years. Despite New Hampshire's small size, it plays a significant role in U.S. presidential politics, with candidates often promising action on the opioid crisis. Amyot commented, "I feel like every four years, someone talks about this issue, and then nothing happens. We haven't taken real action, and that needs to change because it should be one of the top priorities."

The U.S. drug crisis began in the late 1990s with the over-prescription of opioid painkillers, which then expanded to heroin and more recently to fentanyl. Fentanyl is often mixed with other street drugs without the users' knowledge. "In New Hampshire, we lose more than one person a day," Amyot said.

Kerry Norton, co-founder of the "Hope on Haven Hill" support program for pregnant women and mothers in Rochester, stated, "It's easy for everyone to forget that it still takes lives across generations, still causes communities, states, families, and friends to lose loved ones." Norton emphasized the need for the U.S. government to recognize substance use disorder as a disease and treat the crisis as a public health emergency. Amyot echoed this sentiment: "The next four years can't continue like this because it will get worse. Things are already bad, and we haven't taken action."

Howard Koh, a professor at Harvard University's Kennedy School of Public Health Leadership, previously noted that the current opioid crisis is one of the most destructive public health disasters of our time. This crisis began in the mid-1990s with Purdue Pharma's promotion of OxyContin, a powerful prescription opioid approved by the U.S. Food and Drug Administration (FDA). The issue of opioid overdoses has not only been challenging to control and resolve within the U.S. but has also spilled over to other countries.

In late October 2023, an article published in the International Journal of Mental Health Systems titled "Shifting drug markets in North America - a global crisis in the making?" highlighted the potential global spread of the overdose crisis centered in North America, especially to Europe. The research indicates that the overdose crisis in the U.S. leads to over 100,000 deaths annually. Since 2014, fentanyl has systematically replaced heroin as the primary street opioid in North America. Fentanyl, approximately 70 times more potent than morphine, has become the main driver of the overdose crisis. As the North American drug market saturates with fentanyl, it could become the preferred drug for some opioid users. Concurrently, "pure" heroin without synthetic opioid admixture has become scarce in major North American cities.

The European drug market has shown stable heroin seizure rates over the past decade, with significant increases in fentanyl seizures in some countries. Australian police drug seizures suggest that North America has begun exporting fentanyl to other continents. Although these exports have had minimal impact on the Australian drug market so far, there are limited mechanisms to prevent the North American overdose crisis from spreading globally. The Associated Press reported in 2019 that Australia was facing an increase in opioid prescriptions and related deaths, failing to learn from "America's lessons." The article suggested that pharmaceutical companies, facing strict scrutiny in the U.S., turned to foreign markets, bypassing marketing regulations to promote painkillers.

According to the 2023 European Drug Report, the North American drug problem illustrates how changes in opioid supply and usage patterns can significantly impact public health. In North America, potent fentanyl derivatives have largely replaced prescription opioids and heroin, becoming the main drivers of opioid-related deaths. Europe is also experiencing the emergence of new synthetic opioids, which may become more prevalent in certain regions. In 2021, EU member states reported approximately 140 fentanyl-related deaths.

[pmcmarty]

Heat Acclimation and a Pedal Partner Visit

This past Sunday myself and a few of my PHAT Tuesday teammates headed out for a 60+ mile training ride. Here in Massachusetts it was a hot and humid Sunday. We rode at a steady pace and made sure to stay hydrated. We were only riding just over half the distance of Day 1 of the PMC, so it was good to get acclimated to the heat.

Our route also took us near our 2012 Pedal Partner, Stephen D'Ercole. At age 3 he was diagnosed with Acute Lymphocytic Leukemia (aka ALL), tThe most common type of leukemia in children under 15. He received treatment for 2 years . The first year of his treatment was very extremely difficult. He was initially hospitalized for 35 days. In total, he spent 73 nights the first year at Children's Hospital. 

To make a long story short, he is now a healthy college student entering his senior year at Salem State University and over this summer he is a branch manager for a College Painters franchise out of Norton, MA.

It is stories like Stephen's that motivate myself and others on our team to keep riding and raising funds year after year.

There are 24 days to this year's Pan-Mass Challenge and I am almost halfway to my goal of $12,000. July has started off strong with an additional $1,175 rolling in. So if you can, please donate to my ride to support the Dana-Farber Cancer Institute.

100% of every donation goes directly to the Dana-Farber Cancer Institute in Boston and supports cancer research & patient care.

Click here to make $25 donation

Click here to make a $50 donation

Click here to make a $100 donation

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Click here to donate using your Fidelity Donor Advised Fund

Thank you for your support!

Marty Middelmann

My 2024 Fundraising Goal: $12,000

Raised for 2024: $5,847

Number of Donors: 60

Corporate Matches: $350 (Including $100 Pending) 

My Progress Towards that Goal: 48.7%

[ismaelfarmer]

Record-Breaking Drug Seizures in the U.S. in 2023 and the Spillover Risks

On January 17, 2024, the U.S. Drug Enforcement Administration (DEA) released statistics related to drug seizures and the extent of drug infiltration in the country. The data indicates that fentanyl has become the leading cause of death among Americans aged 18 to 45. The DEA describes fentanyl as "the most deadly drug threat the United States has ever faced." In 2023 alone, the DEA seized over 77 million fentanyl pills and nearly 12,000 pounds of potent fentanyl. "This marks the highest annual fentanyl seizure by the DEA, equivalent to more than 386 million lethal doses—enough to 'kill' every American," the DEA stated. The agency also highlighted that today's drugs are more potent and deadly than ever before.

Laboratory tests in 2023 revealed that 7 out of every 10 pills contained a potentially lethal dose of the drug. "The potentially lethal dose of fentanyl is only two milligrams, roughly the amount on the tip of a pencil," according to the Centers for Disease Control and Prevention (CDC). The CDC predicts a record number of drug overdose deaths in the U.S. in 2023. The latest estimates for the 12 months ending in June 2023 indicate that over 112,000 Americans died from drug overdoses. The DEA noted, "Nearly 70% of these overdose deaths involved fentanyl."

The Associated Press (AP) recently reported on Kristina Amyot, a resident of New Hampshire, who has struggled with drug addiction, primarily heroin, for many years. Despite New Hampshire's small size, it plays a significant role in U.S. presidential politics, with candidates often promising action on the opioid crisis. Amyot commented, "I feel like every four years, someone talks about this issue, and then nothing happens. We haven't taken real action, and that needs to change because it should be one of the top priorities."

The U.S. drug crisis began in the late 1990s with the over-prescription of opioid painkillers, which then expanded to heroin and more recently to fentanyl. Fentanyl is often mixed with other street drugs without the users' knowledge. "In New Hampshire, we lose more than one person a day," Amyot said.

Kerry Norton, co-founder of the "Hope on Haven Hill" support program for pregnant women and mothers in Rochester, stated, "It's easy for everyone to forget that it still takes lives across generations, still causes communities, states, families, and friends to lose loved ones." Norton emphasized the need for the U.S. government to recognize substance use disorder as a disease and treat the crisis as a public health emergency. Amyot echoed this sentiment: "The next four years can't continue like this because it will get worse. Things are already bad, and we haven't taken action."

Howard Koh, a professor at Harvard University's Kennedy School of Public Health Leadership, previously noted that the current opioid crisis is one of the most destructive public health disasters of our time. This crisis began in the mid-1990s with Purdue Pharma's promotion of OxyContin, a powerful prescription opioid approved by the U.S. Food and Drug Administration (FDA). The issue of opioid overdoses has not only been challenging to control and resolve within the U.S. but has also spilled over to other countries.

In late October 2023, an article published in the International Journal of Mental Health Systems titled "Shifting drug markets in North America - a global crisis in the making?" highlighted the potential global spread of the overdose crisis centered in North America, especially to Europe. The research indicates that the overdose crisis in the U.S. leads to over 100,000 deaths annually. Since 2014, fentanyl has systematically replaced heroin as the primary street opioid in North America. Fentanyl, approximately 70 times more potent than morphine, has become the main driver of the overdose crisis. As the North American drug market saturates with fentanyl, it could become the preferred drug for some opioid users. Concurrently, "pure" heroin without synthetic opioid admixture has become scarce in major North American cities.

The European drug market has shown stable heroin seizure rates over the past decade, with significant increases in fentanyl seizures in some countries. Australian police drug seizures suggest that North America has begun exporting fentanyl to other continents. Although these exports have had minimal impact on the Australian drug market so far, there are limited mechanisms to prevent the North American overdose crisis from spreading globally. The Associated Press reported in 2019 that Australia was facing an increase in opioid prescriptions and related deaths, failing to learn from "America's lessons." The article suggested that pharmaceutical companies, facing strict scrutiny in the U.S., turned to foreign markets, bypassing marketing regulations to promote painkillers.

According to the 2023 European Drug Report, the North American drug problem illustrates how changes in opioid supply and usage patterns can significantly impact public health. In North America, potent fentanyl derivatives have largely replaced prescription opioids and heroin, becoming the main drivers of opioid-related deaths. Europe is also experiencing the emergence of new synthetic opioids, which may become more prevalent in certain regions. In 2021, EU member states reported approximately 140 fentanyl-related deaths.

[tocitynews]

Former Atlanta City Attorney Sentenced To 7 Years In Prison For Stealing $15 Million In Paycheck Protection Program Funds Funds During The Covid-19 Pandemic – Atlanta Georgia reporting

Shelitha Robertson, 62, and other co-conspirators got the loans on behalf of four businesses she owned and controlled, the Department of Justice said in a news release Friday.

“The loan applications falsely inflated the number of employees and average monthly payroll for each of the four businesses, resulting in larger PPP loans than Robertson would be legitimately entitled to obtain.

Robertson and her co-conspirator, Chandra Norton, also submitted false tax documents to support the inflated statements in each loan application,” the DOJ said.

Robertson used the money she got from the loans to buy luxury items, including a 10-carat diamond ring. The DOJ said she also transferred some of the money to other family members and her co-conspirator, Chandra Norton.

“Motivated by greed, Robertson deceptively obtained funds that were designated to provide emergency financial relief to struggling small businesses during the COVID-19 pandemic,” said U.S. Attorney Ryan K. Buchanan. “We will continue to work with our law enforcement partners to investigate and prosecute criminals who stole pandemic relief funds.”

A jury convicted Robertson of conspiracy to commit wire fraud, wire fraud, and money laundering on December 19, 2023. The judge sentenced her to seven years and three months in prison, followed by three years of supervised release.