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Why aren't we talking about the real reason male college enrollment is dropping? (Celeste Davis, Oct 6 2024)

"White flight is a term that describes how white people move out of neighborhoods when more people of color move in.

White flight is especially common when minority populations become the majority. That neighborhood then declines in value.

Male flight describes a similar phenomenon when large numbers of females enter a profession, group, hobby or industry—the men leave. That industry is then devalued.

Take veterinary school for example:

In 1969 almost all veterinary students were male at 89%.

By 1987, male enrollment was equal to female at 50%.

By 2009, male enrollment in veterinary schools had plummeted to 22.4%

A sociologist studying gender in veterinary schools, Dr. Anne Lincoln says that in an attempt to describe this drastic drop in male enrollment, many keep pointing to financial reasons like the debt-to-income ratio or the high cost of schooling.

But Lincoln’s research found that “men and women are equally affected by tuition and salaries.”

Her research shows that the reason fewer men are enrolling in veterinary school boils down to one factor: the number of women in the classroom.

For every 1% increase in the proportion of women in the student body, 1.7 fewer men applied.

One more woman applying was a greater deterrent than $1000 in extra tuition! (…)

Since males had dominated these professions for centuries, you would think they would leave slowly, hesitantly or maybe linger at 40%, 35%, 30%, but that’s not what happens.

Once the tipping point reaches majority female- the men flee. And boy do they flee!

It’s a slippery slope. When the number of women hits 60% the men who are there make a swift exit and other men stop joining.

Morty Schapiro, economist and former president of Northwestern University has noticed this trend when studying college enrollment numbers across universities:

“There’s a cliff you fall off once you become 60/40 female/male. It then becomes exponentially more difficult to recruit men.”

Now we’ve reached that 60% point of no return for colleges.

As we’ve seen with teachers, nurses and interior design, once an institution is majority female, the public perception of its value plummets.

Scanning through Reddit and Quora threads, many men seem to be in agreement - college is stupid and unnecessary.

A waste of time and money. You’re much better off going into the trades, a tech boot camp or becoming an entrepreneur. No need for college. (…)

When mostly men went to college? Prestigious. Aspirational. Important.

Now that mostly women go to college? Unnecessary. De-valued. A bad choice. (…)

School is now feminine. College is feminine. And rule #1 if you want to safely navigate this world as a man? Avoid the feminine.

in my words:

for now it's just minor archival data and some older data, but YOU can make a change to that.

we have three bits up already. the below article will be updated constantly. contact info at the bottom of the article. we promise anonymity and general source protection.

There is NO "death of the author" with JK Rowling - she controls and continues to profit from her IP, and uses that money to fund hate groups.

link to the article

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The world was confronted by this form of internet-enabled abuse in 2024 during the mass rape and drugging trial of Dominique Pelicot and 50 other men in southern France.

It was on a so-called dating website, in a chatroom called “Without Her Knowledge,” that Pelicot was able to connect with dozens of other men to instigate the rapes of his then-wife, Gisèle. While drugged unconscious by him, she was raped over 200 times by 70 men, not all of whom could be tracked down by police.

The Pelicot case briefly shone a spotlight on this dark corner of the internet. But while Coco, the website involved, was shut down and public attention moved elsewhere, this behavior did not disappear.

[...]

One porn site, Motherless.com, is home to more than 20,000 videos of so-called “sleep” content uploaded by users, with hundreds of thousands of views.

The website, which had around 62 million visits in February alone and whose core audience is in the United States, describes itself as a “moral free file host where anything legal is hosted forever.”

[...]

Text: Aivelin Illustration: a-ida

The series finale of Good Omens dropped this Wednesday, leaving the fandom shaken and in absolute distress. The audience reaction was immediate, driving the Rotten Tomatoes score for Season 3 down to a disappointing 36%. The online debate grew so heated and overwhelmed with grief that numerous fan accounts faced 24-hour social media bans for their highly emotional confessions.

Viewers are highly divided. While a fraction accepts the heavy ending as a necessary evil, the overwhelming sentiment across platforms is utter bewilderment and heartbreak: "These characters do not feel like the ones we grew to love in previous seasons!"

This raises painful, critical questions: Is this sudden shift in characterization a narrative misstep? Is the tragic, suicidal ending a harsh subversion of the original book, which famously promised a comforting happily ever after?

To find the answer, one must look closely at who held the creative reins for the scripts of Seasons 2 and 3. By analyzing the writing credits, clear and undeniable patterns emerge, linking these distressing plot choices directly to Neil Gaiman’s broader, often dark and subversive, body of work.

The Solitary Vision and the Realigned Mold

While the first season captured the shared spirit of Terry Pratchett and Neil Gaiman’s 1990 novel, the subsequent seasons belong to Gaiman’s solitary vision. When viewed alongside his wider world of storytelling, such as The Sandman, American Gods, and Stardust, the tragic fractures in Aziraphale and Crowley’s bond lose their surprise. Gaiman’s worlds are populated by immortal beings who are deeply fractured at best and cruel at worst. In these narratives, it is almost a rule that celestial entities will take advantage of the hearts that love them, turning devotion into a tool before abandoning those souls to a devastating fate.

Crucially, Gaiman always veils this emotional cruelty behind high-minded dilemmas. The act of abandonment is never framed as simple coldness; instead, it is masked as a profound moral crisis ("We cannot be together because I am a god and you are human"), a sacrifice of monumental importance ("I must leave our future to save my kingdom"), or an unyielding divine necessity. Even when Gaiman’s romances lack outward malice, they are consistently denied peace. In Stardust, the mortal husband passes away, leaving his immortal, celestial wife to endure eternity in silent, isolated grief. By transforming Aziraphale into a colder, more emotionally distant figure who abruptly leaves Crowley for a heavenly promotion, Gaiman is merely reshaping Good Omens to fit his favorite creative blueprint.

Deeply Pessimistic Parallels

Ultimately, the ending of Good Omens Season 3 and the conclusion of The Sandman reveal deeply pessimistic parallels. The Sandman closes with its protagonist suffering the consequences of his own rigid nature, forced by higher powers into self-destruction so that his kingdom might survive. In the wake of this death, the universe offers a surrogate replacement - a new entity stripped of the original’s memories, whom the remaining characters are forced to accept despite their lingering grief. 

Aziraphale’s sudden, illogical decision to leap at Heaven’s offer mirrors this exact brand of narrative cruelty. Neither Aziraphale nor Crowley deserved to have their hard-won autonomy stripped away for the sake of a grandiose self-sacrifice. 

A Profound Departure from Terry Pratchett

This shift represents a profound departure from the late Terry Pratchett’s fundamental worldview. Pratchett harbored a deep-seated aversion to suicide tropes and grand, sacrificial violence in fiction. His works respected the dignity of both life and death. In his narrative, the Apocalypse is defeated not through self-sacrifice or bloodshed, but by the quiet resilience and stubborn pragmatism of ordinary people. The first season beautifully honored this philosophy, as the Antichrist and a group of children stopped the Apocalypse through sheer, down-to-earth humanity.

The subsequent seasons discard this logic entirely, altering the very cosmology of the universe. In Season 1, God was an infallible, detached observer whose ineffable plan quietly empowered the right people at the right moment to prevent ruin. By Season 3, God is reframed as a petulant, semi-malicious entity capable of erasing existence on a whim.

Furthermore, while Pratchett and Gaiman likely brainstormed the concepts of the South Downs cottage and the conflict between Heaven, Hell and Earth together, Pratchett would never have designed an intentionally suicidal and destructive endgame. In his philosophy, survival is achieved through an attachment to mundane, earthly joys. In the first season, Crowley is saved from hellfire by his love for his car and his human-like imagination, while Aziraphale survives because of his eccentric, earthly devotion to collecting rare books.

Conclusion: Fanfiction or Harsh Reality

A true thematic continuation of both authors' visions would look radically different. It would find Aziraphale and Crowley left alone in a quiet bookshop for eternity, weaving their magical memories and shared love for humanity together to rewrite every lost book back into a brand-new universe. If that choice ultimately stripped them of their divinity and left them mortal, it would be a logical, bittersweet happily-ever-after within the sanctuary of a beautiful, earthly garden.

Activists from 44 countries plan to launch the largest civilian flotilla in history at the end of August in an effort to break Israel’s siege on Gaza and deliver humanitarian aid to the starving population of the enclave.

The Global Sumud Flotilla, along with three allied initiatives, will send dozens of boats from Spanish ports on 31 August and Tunisian ports on 4 September, aiming to establish a humanitarian corridor and confront what organizers call Israel’s genocide against Palestinians.

“This summer, dozens of boats, both large and small, will set sail from ports across the world, converging on Gaza in the largest civilian flotilla of its kind in history,” said organizer Haifa Mansouri at a press conference in Tunis hosted by the Joint Action Coordination for Palestine.

The mission brings together four groups: the Maghreb Sumud Flotilla, the Global Movement to Gaza, the Freedom Flotilla Coalition, and Sumud Nusantara.