UnderneathTheBunker

It doesn't fit their narrative.

These are very brave people.

Most Western media have said “hundreds of protesters in Gaza” are demonstrating against Hamas when visual evidence shows that tens of thousands in so many cities and neighborhoods throughout the Strip, likely cumulatively hundreds of thousands, have come out against the war, the terror organization, and Hamas’s rule over the Strip. I have noticed a lot of people asking why now? And where are the women? Are you kidding me? Can you imagine being a woman in Gaza trying to make your voice heard in a Hamas-controlled, male-dominated society while trying to sustain the basics of survival? Even then, these young kids, men, elderly folks, and all those out in the streets are taking risks to be out in the streets in opposition to an ISIS-like organization that would have no problem killing Palestinians challenging its fascistic rule. It is despicable to watch Western media, “pro-Palestine” and “pro-Israel” voices online, attempting to dismiss the significance of what is unfolding right now in Gaza and suggesting that they are all “Hamas.” Some are insistent on dehumanizing the Palestinian people of all being pro-Hamas and pro-terror or want to ignore inconvenient Palestinian voices that shatter their overly simplistic “resistance” narratives. The people of Gaza have spoken, even if entrenched interests and narratives don’t want to listen. Please pay attention to who is supporting them and who is working overtime to dismiss their pleas and desperate cries for change.

Wow.

Ihab Hassan:

The Assembly of Southern Gaza Clans has issued a powerful call for a popular uprising (Intifada) against Hamas, accusing the group of gambling with Palestinians’ lives for its own narrow, self-serving interests.

Google translation:

Statement issued by the families and clans of the southern governorates - Gaza Strip

Protesters have started to pop up in Gaza from gazans who are tired of the war and their current government. Gazans are accusing Hamas of gambling with the lives of Palestinians for their own narrow interests.

I, for one, hope they are successful. Hamas is an Israeli proxy created to undermine real organic movements in Gaza for liberation, and it is high time they go. Many westerns like to say Hamas are liberators and that these are just israeli-funded protests, as per usual; those people don't care about Palestinians as much as they care about being anti-westerns to the point of supporting religious fundamentalist fascist movements. The media isn't talking about this either because they gotta keep up the narrative that Hamas is supported by all Gazans to justify the genocide.

Keep them in your thoughts today.

Do not work on your days off.

"But--"

Do not “answer a few emails” on your vacation

Do not work off the clock

I've ranted about the interpretation that Eowyn's rejection of gender roles was a symptom of her sickness, caused only by Grima's manipulations. An interpretation that doesn't hold to either Gandalf's speech in the Houses of Healing, when he specifies how the liberties denied to Eowyn and allowed to Eomer and her male peers played a crucial role in her depression, or when we see how Eowyn was really vindicated in her decision to ride to battle by her victory over the Witch King. A victory that wins her incredible renown and respect.

I think this reading comes about because people see the significance of Grima's contribution to Eowyn's despair, and think he is the sole source of it.

But Eowyn was not dissatisfied with her role and her enforced position in the house because of Grima's manipulations. She didn't rail against sexism because Grima played with her head and "poisoned" her traditionally feminine role for her.

Grima was able to prey on Eowyn, manipulate her and drive her to despair, because of the sexism that forced Eowyn to remain stuck in the house.

Look at the speech Gandalf gives Eomer about Eowyn's sufferings. The very first thing he mentions is the fact that Eowyn was denied the freedoms and opportunities Eomer had. The suffering that follows stems from that first initial injustice.

Because of that first injustice, Eowyn was rendered vulnerable, and Grima was able to exploit that. That isolation, that limited freedom, that unhappiness about her lack of choices, left her free game for Grima to take an already bad situation, and make it far worse.

Thinking about Eowyn's experience in Meduseld, what the impact of being confined to the domestic sphere did to her, and what is left her vulnerable to, makes me think of Gothic horror, and the role of sexism and domesticity in that genre too.

Eowyn's situation before the novels is that of a classic Gothic heroine. A fair, beautiful woman, trapped inside a decaying house, and preyed on by an awful monster, who hungers after her beauty and longs to possess her. Or else, destroy her.

Domestic settings and isolation are pretty crucial themes in the gothic genre, and for that reason it has historically been seen as a woman's genre. It taps into a pretty universal fear of what happens when home ceases to be a safe space, a fear that historically, has a particularly great resonance for women.

Whereas traditionally home is a refuge and respite for men from the world, the home is the woman's only true acceptable sphere. And yet even there she is subordinate. Therefore, she is vulnerable. With no place in the outside world, she has no escape, no respite, no refuge. If home becomes an evil, she is trapped. And because she has no place in the social sphere, she has no voice either. She is invisible, she is overlooked, her sufferings and her contributions are passed over,

Eowyn is isolated. Eowyn is vulnerable. Eowyn is overlooked. And because Eowyn is isolated and vulnerable and overlooked, Grima is able to get his hooks into her and drive her to despair. She is a wild animal, trammelled and caught in a hutch, a predator's helpless prey. But Grima didn't put Eowyn in the hutch. Eowyn was already there. Grima just took advantage of that.

Even after Grima is gone, Meduseld is still a place Eowyn longs to escape, and while its evil is purged and she does return, it is only for a short while. Grima's defeat is not enough to make Meduseld a place where Eowyn can find real happiness or fulfilment. On its own, it still represents a role for Eowyn that she wishes to move beyond.

The healing counterpoint to Eowyn's gothic castle of horrors, the hutch she was caught in, is in escape, and in a return to nature.

Eowyn's entire romance with Faramir takes place within the gardens of the Houses of Healing, where we see Eowyn start to recover from her ordeal. It takes place on the open, in the garden, on the ramparts, with much notice given to the sky and the sun and the elements around them.

(Also, the Houses of Healing themselves are not a domestic setting, but a public one, and there we see women working alongside men and holding authority.)

Eowyn's happy ending, her great escape, climaxes with her decision to go with Faramir to Ithilien.

Ithilien is the exact opposite of a hutch. It's descriptions are filled with natural imagery, and is known as the Garden of Gondor. It is a place for growth and fresh starts. A place of freedom. A place for a wild thing.

When Faramir suggests that he and Eowyn live in Ithilien, he reasserts again and again that they will go there if it is Eowyn's will. Both Tolkien and Faramir put emphasis on the importance of Eowyn's will, and Eowyn's right to freedom of movement.

In his plans for their future, Faramir talks of "us" and "we", removing the separation between men (belonging to the social sphere) and women (belonging to the domestic), and speaks of Ithilien as a shared dwelling place for both of them. Faramir only distinguishes between himself and Eowyn when he puts importance on Eowyn's will, and at the end, on Eowyn's influence.

At the close of his speech, Faramir says all things will grow with joy in Ithilien, if Eowyn is there. Returning Ithilien to its former glory, allowing it to bloom once more, is to become Faramir's life's work, and still it is Eowyn's influence he puts centre stage. Far from being kept confined to the domestic sphere, relegated to being Faramir's home support while he dominates the rehabilitation of Ithilien, Faramir places Eowyn's work and Eowyn's significance at the heart of their future together.

And BRUCE FUCKING SPRINGSTEIN was his drum teacher.

Then Bruce started a band and homie was a roadie from 15-18 years old. He described it as helping them move equipment, go backstage and stay back stage during the show, then hang eith the band. He recalls 18 being the drinking age at the time but he "wasn't so into it" and mostly smoked weed.

Random as hitchiker smoked weed with The fucking Boss probably on the reg.

I’m not thankful for it. you want me to be thankful that I’m not seen as a human being? thankful that I don’t feel safe in my own body and haven’t since I was a child? thankful that I feel like an animal being hunted for sport? thankful for all the hugs from creepy old male relatives that lasted a little bit too long as soon as I turned 12? you want me to be thankful that I have to see more and more men popularize the rhetoric that “if a girl hits puberty she’s old enough to be a wife” (sneako for example) basically justifying all the worst shit that has ever happened to me?

S2 ep7 spoilers btw

When Dean n Sam are figuring out the Dana Shulps anagram there was something about Sam's handwriting that really just like grabbed my attention

(dont mind the white text its the only way i could find a pic)

look at his A's dude, LOOK AT HIS A'S

THEYRE STARS DUDE, HIS A'S ARE STARS

LOOK AT THE S2 INTRO BRU