I posted this already in Plex but I need more help with hardware than the Plex software so I'm posting it here as well.
My former AMD A10-7700 Windows 10 PC died on Christmas 2022 so I recently upgraded to AMD Ryzen 7 7700 Windows 11. I want to reuse my former Gigabyte motherboard (GA-F2A88X-UP4).
I have a 118GB SSD for whatever OS I put on it (It used to house Windows 10 but is blank now). I still have the DDR3 memory from the old system that is still parked in the old motherboard. I'll need a new FM2 or FM2+ CPU and case or frame. (I'm a woodworker hobbyist so I can build a well ventilated box to keep my cats out of an open frame build. Any excuse to work with my woodworking tools is a plus in my book.)
I'll need a new power supply as I used the old one with the new Windows 11 system but I'm thinking I'll put the new one in the new system and reuse the old one for the new Plex Server dedicated system.
I have various 5TB SATA hard drives that currently house my existing Plex libraries but they connect (and randomly disconnect) via USB3 which I want to get away from.
I have the lifetime Plex Pass which I use to record live OTA which works rather well for our needs. (I have a tuner connected to my network via ethernet) I have zero experience with Linux but my father and little brother tell me this is the best route so I'm willing to try but I have no idea where to start.
I want to be able to watch my recorded content on any of the three TVs in the house two of which have ROKU players. Unless I'm traveling I don't foresee a need to be able to watch my content from anywhere else but all 3 of the TVs are 4K. (I also don't foresee much need for watching more than two screens at any one time.)
In the last millennium Intel came around my part of the world and promised jobs at a new factory not far from where I lived. They pulled out of the deal and I haven't owned an Intel product since nor do I want to start now. It's a sore point so I'll be sticking with AMD no matter what.
I build for the long term so my last PC started out with Windows 7 on it and I hope to get as close to 10 years out of whatever I build now as I can.
Can you help me figure any of this out? Thank you in advance.

EDIT: This was originally posted about a week ago in other subs
TL;DR: 6 years with a narcissist left me with severe emotional trauma and huge memory losses that have surfaced not two months ago. Later, my untreated trauma caused me to inadvertently hurt someone I love very much, and from whom I had to part ways from.
My previous exgirlfriend and I were together for 6 years, long distance (two different countries), with two hiatus of some months and a whole year. Our last period together lasted somewhat around four months.
I'm pretty sure she was a narcissist. I am not, of course, any kind of psychologist, but many of her behaviours check out. She would disappear for days or even weeks without a word and act as if it hadn't happened later. We were in an open relationship, but the way she talked about it and her casual lovers felt as if she was weaponizing it to make me feel lesser, insecure, not worthy. Whenever I would demand of her any kind of emotional responsibilities or to better define our relationship, my limits, or our bond, she would get verbally aggressive and say things such as that I was trying to control her and change how she lived her life, that I made her feel miserable with my words and was being egotistical.
Other times, when the waters had calmed down, she would be a completely different person, so loving and caring. Only now I understand that what she was doing was love-bombing. In the times between those, she would only pay attention to me so often, feeding me crumbs, making promises that she would never fulfil and talking me about how we would very soon be together, she would come to visit me, we would move together and have an amazing future, and this and that. Every year she promised me that she would come to my city to spend Christmas with me and my family (which she knew is something very important to me, a rather integral part of me), and then she would make excuses and never deliver.
The first time we went on hiatus, she had disappeared for some days until I saw a Twitter post in which she was flashing A RING. Apparently, a couple of weeks prior she had met some dude and they had hit it off pretty hard. This was the first I heard of all of that. I demanded some explanation and tried to understand what would that entail for us. She said that "this ring is not a promise, but the promise of a future promise" (?????????), and that what would happen between her and I didn't have to change, but only time would tell. We started to drift apart and after some weeks she disappeared completely for around 6 months or so. Of course, I was devastated. I started doing miserably at my studies which led to me failing and having to repeat a whole year. I don't know what happened with her, but I could guess that other guy saw straight through her, or got fed up, and eventually left her. She started testing the waters my way, being herself again, and I threw myself head first in that hole.
The second time we went on hiatus was longer. She had been thinking about coming back to our home country for a while for various reasons. She lived in the UK and Brexit being one of them. Also, some health problems within her family and she suddenly being very afraid of not spending enough time with her folks. She had been preparing to make the move and had started looking for jobs or even new studies to pursue. She mentioned moving to my city so that we could live and work/study together (I was also in a transitory phase of my life and was thinking of studying a vocational/technical degree). Ultimately, she did not and moved to her city, with the same plans, and asked me to research for her how to enrol and everything. I did and sure enough she started studying again. And then... In her city lived an exBF of hers with which she had had a rocky relationship in the past, would-they would-they-not. I read online that she had crossed paths with him by chance in a bar. It's a small city, I believe it was not intentional, although I know that she was not against it. So, she started being more and more absent... until she disappeared completely. I tried contacting her for a couple of months to no avail, and again I fell into what must have been depression. Then, after a year or so, COVID came. During lockdown, she had found herself living in a very small student flat, completely alone, unable to move to her family's or nobody else. She then started posting on her Instagram stories a bunch of photos that I had told her in the past that I liked very much, memes about topics she knew I enjoy, some poems and texts about returning and "rekindling the flame", and finally, what was my favourite photo of her with some small text that said "it's been a long time since you've been silent. Don't you think it's time to come back?". So, of course, I did.
She told me that when meeting her ex again, she started having feelings for him, and that she had to get her head and her feelings together, so she thought the best thing to do was to stop all contact with everybody that knew her and didn't live in her city. Later I found out that during that year she had been sleeping on and off with her ex, she dated a girl for a while, she dated another guy (who incidentally was almost a copy of me. Same style, same general looks, same interests... He even was twitter-friends with some acquittances of mine (that I later found out she had also been flirting with)). I was so happy to have her back that I decided to ignore all of that. Then, a month or so later, she did it again and disappeared for a week or so. At that moment I stood up for myself and demanded some emotional responsibility from her. I don't know what I did right, but that time she did not get aggressive and she conceded that she needed to make amends with a lot of people, that she had a list and that she was working on it. But apparently I was not in that list, nor she was really working on it, because not only did she not apologize to me but, you guessed it, she did it AGAIN a couple of weeks later. At that time I wrote her a quite long IM text explaining how I had felt all those years, the pain she was inflicting me, and that either she got her shit together in regards with our relationship or I would be out. She proceded to ghost me and start ranting on twitter about how "some people" were trying to "control her and the way she had chosen of living her life", how she was sick of "being pushed and manipulated", and that "there would be consequences". For the next couple of weeks I tried making contact with her, I tried to get an answer, any answer whatsoever, but she never even acknowledge receiving my messages (and with the read-confirmation, I know she did read them). After a while, I accepted that the decision had been made for me and I unfollowed her everywhere.
That was 3 years ago. In the meantime, I had a new relationship, which lasted 2 years, had an imperfect start, went good, then ended when untreated trauma in both parts finally exploded. It is still very recent, and hurts like nothing I've experienced ever. Less than a month ago, actually, but that relationship and that breakup are a story for a different post. At one point that person inspired and encouraged me to go to therapy, and so I've been doing for the past half year. During the last couple of months, thanks to therapy and some observations and reading I made on my own, I started realizing that I had a lot of memory losses regarding those six years and the start of my new relationship. Some periods I remember quite clearly. Some are surrounded by mist. And some I don't remember at all.
It's been almost a month since our break up. I feel devastated that the best relationship I ever had, the only in which I have truly felt loved and desired, the one that has taught me that I can be loved and indeed deserve to be, had to end. I feel angry at myself for all the times I hurt her. At my ex, for all the pain she inflicted me. For all the suffering that her actions provoked down the line. At myself for not being able to get out of there in time, for keeping hoping. For being addicted. I feel sad and angry at myself for not remembering some of the things I said to my last partner. I feel guilty. I feel guilty and angry at myself because now I can put a name to what I lived, now I can identify all she did to me, now I know what bread-crumbing is, benching, love-bombing.. and many more words like that. Now I know about intermittency. Now I can see my past self live all that, and I can't do anything to help him, to help his future relationship. I fear that those memory losses will accompany me all my life. I fear that trauma will haunt every relationship I have. I'm afraid to talk about her to my hypothetical future partners, to say her name, to mention her city.

EDIT: This was originally posted about a week ago in other subs
TL;DR: 6 years with a narcissist left me with severe emotional trauma and huge memory losses that have surfaced not two months ago. Later, my untreated trauma caused me to inadvertently hurt someone I love very much, and from whom I had to part ways from.
My previous exgirlfriend and I were together for 6 years, long distance (two different countries), with two hiatus of some months and a whole year. Our last period together lasted somewhat around four months.
I'm pretty sure she was a narcissist. I am not, of course, any kind of psychologist, but many of her behaviours check out. She would disappear for days or even weeks without a word and act as if it hadn't happened later. We were in an open relationship, but the way she talked about it and her casual lovers felt as if she was weaponizing it to make me feel lesser, insecure, not worthy. Whenever I would demand of her any kind of emotional responsibilities or to better define our relationship, my limits, or our bond, she would get verbally aggressive and say things such as that I was trying to control her and change how she lived her life, that I made her feel miserable with my words and was being egotistical.
Other times, when the waters had calmed down, she would be a completely different person, so loving and caring. Only now I understand that what she was doing was love-bombing. In the times between those, she would only pay attention to me so often, feeding me crumbs, making promises that she would never fulfil and talking me about how we would very soon be together, she would come to visit me, we would move together and have an amazing future, and this and that. Every year she promised me that she would come to my city to spend Christmas with me and my family (which she knew is something very important to me, a rather integral part of me), and then she would make excuses and never deliver.
The first time we went on hiatus, she had disappeared for some days until I saw a Twitter post in which she was flashing A RING. Apparently, a couple of weeks prior she had met some dude and they had hit it off pretty hard. This was the first I heard of all of that. I demanded some explanation and tried to understand what would that entail for us. She said that "this ring is not a promise, but the promise of a future promise" (?????????), and that what would happen between her and I didn't have to change, but only time would tell. We started to drift apart and after some weeks she disappeared completely for around 6 months or so. Of course, I was devastated. I started doing miserably at my studies which led to me failing and having to repeat a whole year. I don't know what happened with her, but I could guess that other guy saw straight through her, or got fed up, and eventually left her. She started testing the waters my way, being herself again, and I threw myself head first in that hole.
The second time we went on hiatus was longer. She had been thinking about coming back to our home country for a while for various reasons. She lived in the UK and Brexit being one of them. Also, some health problems within her family and she suddenly being very afraid of not spending enough time with her folks. She had been preparing to make the move and had started looking for jobs or even new studies to pursue. She mentioned moving to my city so that we could live and work/study together (I was also in a transitory phase of my life and was thinking of studying a vocational/technical degree). Ultimately, she did not and moved to her city, with the same plans, and asked me to research for her how to enrol and everything. I did and sure enough she started studying again. And then... In her city lived an exBF of hers with which she had had a rocky relationship in the past, would-they would-they-not. I read online that she had crossed paths with him by chance in a bar. It's a small city, I believe it was not intentional, although I know that she was not against it. So, she started being more and more absent... until she disappeared completely. I tried contacting her for a couple of months to no avail, and again I fell into what must have been depression. Then, after a year or so, COVID came. During lockdown, she had found herself living in a very small student flat, completely alone, unable to move to her family's or nobody else. She then started posting on her Instagram stories a bunch of photos that I had told her in the past that I liked very much, memes about topics she knew I enjoy, some poems and texts about returning and "rekindling the flame", and finally, what was my favourite photo of her with some small text that said "it's been a long time since you've been silent. Don't you think it's time to come back?". So, of course, I did.
She told me that when meeting her ex again, she started having feelings for him, and that she had to get her head and her feelings together, so she thought the best thing to do was to stop all contact with everybody that knew her and didn't live in her city. Later I found out that during that year she had been sleeping on and off with her ex, she dated a girl for a while, she dated another guy (who incidentally was almost a copy of me. Same style, same general looks, same interests... He even was twitter-friends with some acquittances of mine (that I later found out she had also been flirting with)). I was so happy to have her back that I decided to ignore all of that. Then, a month or so later, she did it again and disappeared for a week or so. At that moment I stood up for myself and demanded some emotional responsibility from her. I don't know what I did right, but that time she did not get aggressive and she conceded that she needed to make amends with a lot of people, that she had a list and that she was working on it. But apparently I was not in that list, nor she was really working on it, because not only did she not apologize to me but, you guessed it, she did it AGAIN a couple of weeks later. At that time I wrote her a quite long IM text explaining how I had felt all those years, the pain she was inflicting me, and that either she got her shit together in regards with our relationship or I would be out. She proceded to ghost me and start ranting on twitter about how "some people" were trying to "control her and the way she had chosen of living her life", how she was sick of "being pushed and manipulated", and that "there would be consequences". For the next couple of weeks I tried making contact with her, I tried to get an answer, any answer whatsoever, but she never even acknowledge receiving my messages (and with the read-confirmation, I know she did read them). After a while, I accepted that the decision had been made for me and I unfollowed her everywhere.
That was 3 years ago. In the meantime, I had a new relationship, which lasted 2 years, had an imperfect start, went good, then ended when untreated trauma in both parts finally exploded. It is still very recent, and hurts like nothing I've experienced ever. Less than a month ago, actually, but that relationship and that breakup are a story for a different post. At one point that person inspired and encouraged me to go to therapy, and so I've been doing for the past half year. During the last couple of months, thanks to therapy and some observations and reading I made on my own, I started realizing that I had a lot of memory losses regarding those six years and the start of my new relationship. Some periods I remember quite clearly. Some are surrounded by mist. And some I don't remember at all.
It's been almost a month since our break up. I feel devastated that the best relationship I ever had, the only in which I have truly felt loved and desired, the one that has taught me that I can be loved and indeed deserve to be, had to end. I feel angry at myself for all the times I hurt her. At my ex, for all the pain she inflicted me. For all the suffering that her actions provoked down the line. At myself for not being able to get out of there in time, for keeping hoping. For being addicted. I feel sad and angry at myself for not remembering some of the things I said to my last partner. I feel guilty. I feel guilty and angry at myself because now I can put a name to what I lived, now I can identify all she did to me, now I know what bread-crumbing is, benching, love-bombing.. and many more words like that. Now I know about intermittency. Now I can see my past self live all that, and I can't do anything to help him, to help his future relationship. I fear that those memory losses will accompany me all my life. I fear that trauma will haunt every relationship I have. I'm afraid to talk about her to my hypothetical future partners, to say her name, to mention her city.

TLDR: Game is fun but repetitive. Unfortunate that it follows very cookie-cutter design for characters, combat, gear, and dialogue when the IP is so unique.

The Good:

Character creator adequate, good but nothing special
Plenty of clothing options in a variety of period-appropriate styles
Broom customization
Home base customization and assets
Good plot
Some twists I didn’t see coming
Faithful to Wizarding World lore
Beautiful and appropriately expanded map
Plenty of fast travel
Side missions and collectibles are appropriately spaced out
Various mounts for different styles of travel
Aiming is easy and fluid during combat
Spells are unique enough and can be upgraded to have greater effect
Challenging combat and puzzles, but not unfair or too baffling

The Bad:

Voice pitch shifter sounds awful
Gear stats/upgrades/traits are meaningless and unnecessary
House choice has no impact on game beyond cosmetics, spawn points, and few NPC dialogues
Not enough wand look options, all your options are rugged while others’ looks refined and stylized
Wand traits don’t impact gameplay (despite all the Wizarding World lore about wand wood)
Automatic facial animation during most interactions
Dialogue choices have very minimal impact on gameplay
No way to interact with friends outside missions
Very lackluster and sudden ending to main story
No classes outside of missions
Random no-fly zones that pad exploration of far-south region
Not enough meaningful things to spend money on
Most missions take place in underground caves/dungeons rather than out in the beautiful world
Potions and plants are unnecessary unless you want to breeze through encounters
Stealth is originally almost useless, can be upgraded to be OP
No new game plus

Join Blackhawk Defense Force!

​
https://preview.redd.it/dsnu98hasjpa1.png?width=800&format=png&auto=webp&s=6660318c3d94866eef26a814ddaa1694fb1d23ab
GREETINGS CITIZENS!
Blackhawk Defense Force is looking for both experienced and new players to help us grow into an effective fighting unit as well as a great place to get to meet new friends and have a good time. BDF is UEE oriented, legal, full fleet, anti-pirate, anti-griefer, star citizen dedicated and noob friendly.
**EU AND OCEANIA PLAYERS!** Our goal is to become international. We are NA based, but schedule our ops to best accommodate everyone. We have a strong EU department, The Black Watch, and we are working to build an Oceania/Aussie/Kiwi Department. Help us to grow into a 24/7 organization!
EVENTS! There are a lot of houses in Star Citizen with no light in the window. Tired of being a member of a dead org? Tired of looking for an org that is actually active? BDF holds a minimum of two events a week and usually more. Join us for the fun.
ACTIVE MILITARY AND VETERANS ARE WELCOME! BDF is proud to have a significant number of active military and veterans as part of our membership. We will work with your schedule. We salute you no matter when or where you served. o7
SQUARDON GOALS:

1. To have a good time as a group, participating together in the Roberts Space Industries Star Citizen. Simply put, we are here to have fun. Never lose sight of the fact that this is rule #1.
2. Function as a private military company, loyal to the Empire, conducting legal military and civilian operations. We will conduct our operations with professionalism and adhere to comms discipline when engaged in operations in the vicinity of the enemy. We will also lend assistance to other citizens of the UEE where and when ever we are able.
3. Learn the game and how to play it skillfully. Blackhawk Squadron will provide training for new pilots for all aspects of game play.
4. Although listed as a role play org, we are not hard core, and role play is not a requirement to being a member of this organization. We allow players to role play at the level they prefer. Generally we approach role play with a relaxed, friendly, attitude. There will be no 'hard-asses' here. The posted military discipline rules only apply when members are operating together on the servers during official operations, or in one of the In-Character channels provided. On the primary channels, and on some other private channels, out-of-character conversation is the norm, while in-character play is allowed. Military courtesy, however, is optional anywhere....for the fun and courtesy of it alone. Participation in text based role play story making on the role play channels is strictly voluntary.
5. Make new online friends. Learn to work, and fight together as team mates. Learn to trust each other, and cover each other’s backs on the forums, on the servers, and in the Verse. Eventually, we hope to form more of a family than a PMC.
6. Improve our combat skills with practice in both the Persistent Universe and the Arena Commander.
7. Learn to work together as a unit using teamwork, wingman tactics, and become an effective fighting force in the Verse...on the ground, in the sky and in space.
8. To be successful individually, and as a group in the game.
9. To find a proper location and establish a base from which to operate.
10. Secure reliable friends and make advantageous alliances with like minded organizations.
11. Secure profitable, legal contracts in Security, Reconnaissance, Escorting, Mercenary, Freelancing, Transport, Rescue, Vanduul and Pirate suppression, UEEN work, Combat Patrols, as well as Data and message running. We will take any honorable, military or civilian, job that we are equipped to perform.
12. To send out one or more Exploration ships to expand man's knowledge base of the universe, as well as to look for new territories and resources that can be exploited. Use our exploration as a source of revenue.
13. Always remember rule #1.

WHAT WE OFFER:
* A complete military style structure
* Full ranking system
* Individual and group training
* Training videos available on our private server
* Like shiny rocks? So do we. So there will be a large selection of awards, medals, ribbons and certification badges that will be presented for a wide range of combat and non combat accomplishments.
* A web site where all main members will have individual areas for character development and display of their uniform, rank, awards, etc.
* Solid organization with clear goals and the determination to consistently move forward despite the road blocks that Star Citizen may (will) throw at us.
POSITIONS AVAILABLE:
Fighter Pilot (generally single seat fighters)
Heavy Fighter Pilot
Single Seat Bomber Pilot
Light Multi-Crew Ship Pilot (fighters/bombers/drop ships etc.)
Light Multi-Crew Ship Crew Member (generally turret gunners)
Capital Ship Captains and Crew Members
Marine
Medical
Search and Rescue
Logistics and Support (includes transport, mining, repair, construction and supply)
Exploration
Leadership
Join our effort to establish one of the finest groups to play and enjoy Star Citizen with!
https://discord.gg/gHhgdtf5Bj
https://robertsspaceindustries.com/orgs/BDF1

[NOTE: If your not in the mood for a rant (see flair) then don't read.]
Are they saying they ran their code through some sort of style checker and they are doing us a favor by not having release notes so we can clean our house? It actually reads like something they are going to do, not something they done. I never know what to expect release to release because there's never anything from them that reads as an accomplishment or change. It's more like tickles, giggles and fairy dust.
Less release notes means more time to wonder just what the hell they are doing and where they are going with the product.
Maybe they should target release notes with a version for kids and another for adults.
Release Notes (Kids Version): "We're busy, now go clean your room."
​

Release Notes
A steady stream of YNAB improvements for your reading pleasure. Grab some tea. Curl up with a Snuggy® and enjoy.
March 22nd, 2023
Here’s to a new season! This week we have our virtual brooms at the ready and we’re spring cleaning software-style. Less release notes means more time for you to get your actual broom going…

Hey everyone! So my sister in law (we are also friends, friends BEFORE I met and later married her brother) is an accomplished architect and also great at interior design and just overall making style, color, and design choices. While we don’t always agree style wise, I generally like and appreciate her sense of style. We (husband and I) are struggling a bit with accomplishing the vision for our wedding decor and style wise since what we want doesn’t seem to fit squarely into any of the more popular wedding themes/categories. I would love to ask for SIL to help with designing our wedding (designing, not planning) because she understands how to work with color and style, but I’m a little hesitant because she can be easily hurt. For example, if she suggests something we don’t like, I think she’d struggle not to take it personally. I’m also slightly worried about the fact that she’s not where she wants to be relationship wise, and while she seems super excited about our wedding, I don’t want her to put her in a situation where she gets triggered and perhaps feels hurt about her relationship status. So what do you think? Should I ask her? Not at all? Yes but with boundaries? Would love to hear your thoughts.

We finish strong but just miss the playoffs, Stutzle gets 40 goals, Giroux 1000 points, Sanderson does enough down the stretch for a calder nomination. New and competent ownership comes in featuring Ryan Reynolds and clears house. We hire new coaches and management made up of guys with a succesful track record (a stanley cup) and/or former players like Alfie. We win big at the draft lottery and shoot up to 2nd overall. We then re sign Debrincat, Pinto, Brannstrom and Brassard to reasonable deals. We fix the bottom six. Reynolds makes a Welcome to Wrexham style show about us with the first episode ending with him drafting Fantilli 2nd overall. October rolls around and the rebuild is finally officially over, we've arrived. Norris is back, Debrincat finds his touch, Batherson becomes severely underpaid again, Stutzle is a top 5 scorer in the league and Sanderson is THE GUY, taking pressure of Chabot allowing him to have a career year. "The kid line" Fantilli/Pinto/Greig is the highest scoring third line in the league and we become the 1st team ever to have seven 30 goal scorers in a season (Tkachuk, Giroux, Batherson, Stutzle, Norris, Debrincat, Pinto). We pickup Karlsson at the deadline and somehow make it work financially idk we'll crunch the numbers later, we also nab Craig Anderson as a backup. We cruise into the playoffs and go all the way. Game 7 of the cup against the cinderella Anaheim Ducks goes to overtime, double overtime in fact, Karlsson sauces it to the Tkaptain for the breakaway, he buries it for the cup and our first ever game 7 win. Tkachuk hands the cup straight to Giroux who hands it straight to Karlsson who hands it straight to Alfredsson. The very next day the world announces it finally attained world peace and figured out how to turn pollution into fresh water.

I have everything, if I dont have what you want listed, I will get it for you, message me. I add things to my list every single day.
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Over from the Patreon. If you haven't read Cass' Aven Cycle, it's really good stuff!
Today we're chatting with Cass Morris, author of the Aven Cycle, a historical fantasy set in an alternate Rome, and co-host of the podcast Worldbuilding for Masochists, an award-nominated podcast discussing the intricacies of worldbuilding in SFF. This means Cass is something of an expert on worldbuilding complexity in fantasy books, which is what I want to talk about today. SFF readers have a particular love of immersing ourselves in richly detailed worlds we can imagine ourselves in viscerally, but let's talk about how writers can actually bring that complexity of detail into focus without totally overwhelming readers.
So to start, I want to talk about political systems, because I love how you managed to make the deep sense of complexity on that front accessible. Ancient Rome: Not an uncomplicated governmental system! And that's before you introduce fantastical elements. People already have trouble understanding how our own governments work, so how do you teach the reader enough that you can play with that complexity for plot intrigue? How do you convey the sense of complexity so the reader understands it without totally bogging down the pacing with exposition?
CASS: Well, one big thing that helps is absolutely the editing process! I'm prone to going into far too much detail on the first try. Multiple pages of too much detail. An entire swamp's worth of getting bogged down. Laying out all the complexities helps me explain them to myself, but it's far more than a reader needs. After the first draft, I could carve out what was totally unnecessary, then simplify the rest enough to be comprehensible, just as, say, The West Wing simplifies the machinations of the White House and Congress without losing what's dramatically interesting about them.
Then, as with so many worldbuilding elements, I think you have to connect political worldbuilding to what a character needs and what's obstructing them. For example: Sempronius Tarren needs to win a certain election to get himself the right provincial posting to set up his longer-term goals. In seeing him make that plan, the reader learns a little about the hierarchy of offices and the powers endowed to each—not a full constitution's worth of details, but enough to understand why the office is desirable and valuable to this character in this moment. Then, the obstruction: His philosophical opponents don't want him gaining what they consider dangerous levels of power, so they throw legal challenges in his way, the same way the US Congress uses things like filibusters. Showing Sempronius' frustration at the block, followed by his own countermove to get around it, feeds the reader more information about how the system works, but through the more engaging lens of his thoughts and emotions.
CASEY: Ha, the existence of editing is a great point. I've done this the opposite way as well—drafted the bones of the story and then filled in later once I knew what kind of detail was called for. But I think the key that you bring up here is that you're focusing on what is relevant to the point-of-view character. They—and we, as the authors—might know and be familiar with all kinds of political nuances the reader isn't, but that doesn't mean you have to teach them all to the reader!
This can get tricky, because deep in the character POV they might notice all those signals, but the ones the reader needs are the ones that are directly relevant to the POV character's goal and its attending conflict. And moreover, it needs to be a specific goal, not something nebulous like, "I want to attain more power." You have a character who wants to accomplish something specific (e.g. win an election), and give them a limited number of people/obstructions who are the actual roadblocks—possibly not the person you'd expect to have the power to stop them, to indicate more nuance in a system, or you can mention in summary other contributing factors that are already in hand, things like that. But limiting the scope helps focus on a few areas to then flesh out in depth, which in turn creates the impression of more depth in general.
It's sort of counterintuitive, but in a way you have room to give more detail with fewer details. And I love how your approach bakes the exposition into the character's agency as they navigate their response to obstructions, because that is so helpful with pacing, too.
DJANGO: A good edit does indeed always help a lot!
For me the biggest barrier to depicting a complex government realistically is the sheer number of people involved. In any government of reasonable size there are hundreds, if not thousands, of potential decision-makers who might have impact on a plot. In a Roman context, beyond the actual elected officials (and there are plenty of those) you have all the other members of important families who didn'tget elected, or are planning to get elected next year, or who lend money to the candidates, or what have you. Thinking about the current US government, the number of characters I personally would recognize (as a more-or-less informed news reader) is both far less than the number who really matter and far morethen we can expect an average novel reader to keep track of.
There are a few techniques that have helped me in the past. The first is just an acceptable break from reality—power in novels tends to be way more centralized than it would "realistically" be. This is true even in very autocratic societies! To go back to my favorite example, in A Game of Thrones the number of major characters involved in the government is probably less than 20—the king, his family, the small council, and the seven Lords Paramount (Stark, Tully, Tyrell, and so on). This is enough that the book has a reputation for complexity and having a lot of characters, but compared to a real government of the type it depicts is probably an order of magnitude too low. GRRM wisely concentrates a lot of functions into personal rule because it works better dramatically for Mace Tyrell or Tywin Lannister to attend to stuff personally than having a hundred ministers and vassals all the time. (It's not a government, but in The Shadow Campaigns the army that the main characters are part of is under-officered in comparison to its historical counterparts—extremely so by British standards!—exactly because this means fewer named characters for everyone to keep track of.)
The other useful trick is to assign representatives—people who can stand in for a large bunch of similar people that we keep coming back to. If you need to write "someone convinces the members of Parliament to vote yes on something," and it doesn't work for there to be some single person who gets to make that choice, you can show the characters meeting with a small number of MPs, say three, and coming back to them several times. With the proper framing as a kind of montage, the reader understands that these are examples and extrapolates. This helps you depict the kind of thing that goes on in the government, which can be just as important as its formal structure. (For example, are you getting the MPs on-side by threats from the party whip, promises of future political favors, or payoffs and patronage?) Joe Abercrombie is particularly good at this, for example in his depiction of the Open Council in Before They Are Hanged.
CASS: Yeah, trimming down the number of people involved is definitely a big help. That's another place where I usually have far too many functionaries and side characters on the first go, then end up consolidating them in following drafts. You can also do a lot just depicting the literal halls of power—how full the building is, how many people are moving around, even the architecture itself can tell the reader a lot about the scale of the governing apparatus, in just a few words of description.
Trimming down the steps of a process also helps. If you look at something like how a bill becomes a law in the United States, it's a lot more complex than Schoolhouse Rock led us to believe! It's not just: 1. Propose Law; 2. Committee Debate; 3: Full Chamber Debate; 4: Vote; 5: Repeat in Other Chamber; 6: President Signs. There are many layers of hearings and markups and financial appropriations, and it's all recursive, because you might have to go through that several times! A little of that may prove interesting, if you can hang an exciting character moment on it or show a really neat procedural trick, but going through the full process will be torture for anyone but the wonkiest of policy wonks.
The Aven Cycle is a fantasy with a strong historical analogue, and I know you have a lot of experience with historical research, between your current dramaturgical work for Camp Halfblood and your formal academic training. So talk to me about how you use history to inform your worldbuilding without restricting your fictional playground with so much research the story becomes didactic. How do you choose what to focus on, and what to leave out? Since women are front and center in these books, I'd love to hear in particular how you focused their stories with a sense of historicity, and how much you could take or chose to invent based on your research.
CASS: I have always been hugely interested in social history: how people live their lives in a given place and time. Sometimes it's strikingly similar to how we experience life today, and sometimes it's so alien—and the same piece of history can be an example of both! I'm fascinated by all the pressure points a society faces and how we create both problems and solutions out of our dominant paradigms. Social history can be hard to uncover, though, because so many of our literary primary sources were composed by wealthy free men, which leaves out most of society. We generally see everyone else through the biased lens of those guys at the top of the heap—at least in what we think of as traditional source material. So, I like exploring less traditional sources.
In the early modern world of my academic training, we do have more surviving written work in the form of letters and journals, but we can also look to things like ecclesiastical records. I promise that's more fascinating than it sounds! Reading up on 17th century slander trials is wild, for example, because those record the exact words that people were using to insult each other—which in turn tells us a lot about what they considered virtuous and what was shameful. Or there's Henslowe's Diary, which gets into granular detail about the income and expenses of a theatre in the 1590s and 1600s.
In the ancient world, archaeology provides more information than words do. The layout of their houses, their furniture, their tools, their kitchen utensils, all of it shows us how people lived. Some of my favorite sources are funerary monuments. Thousands and thousands of these survive, and they document the lives of regular people. The majority, in fact, belong to soldiers or freedmen and their families. They used them to boast of what they'd made of themselves, proud that their children had been born free, proud of the businesses they built. The soldiers spoke about where they'd fought and what awards they won. Some of the most heartbreaking were set up by parents mourning for young children (putting paid to the myth that people didn't get attached to their kids because of high rates of child mortality). Each one is a declaration of the self in defiance of the oblivion of eternity, and I just find that so beautiful.
That's all a long way of saying: I look for the history that shows me people. Those are the details that I want to carry into the text: what they care about, what they value, and the material culture that attends those more abstract concepts. That's the history that ties to character, rather than just being an info-dump.
Even with all that archaeological information, though, we're still stuck with a dearth of information, particularly when it comes to the lives of women and other marginalized groups. So I've had to train myself to look at the absences, the gaps in the record, and try to fill them in, and to look at the sources written by men, then subtract out the biases those men held in order to get to something closer to truth.
It's like looking at the shadow of a tiger. It might give you an idea of the tiger's shape, but only from a particular angle. It may or may not tell you how big a tiger is. It won't tell you that a tiger has stripes, what a tiger sounds like, or what it eats. Examining the lives of marginalized groups in history is often trying to know them by their shadows.
What's clear, though, is that women exerted a lot of power "off-screen" in the ancient world. We have some gorgeous examples: Cornelia, mother of the Gracchi, held up as a paragon of virtue; much-married Fulvia, who ran street gangs, had a feud with Cicero, and waged war against Octavius Caesar; Agrippina Major, popular heroine who gave an emperor so much grief that he had her assassinated; her daughter Agrippina Minor, mother of Nero, whose autobiography is the lost text I'd most like to see miraculously rediscovered. I could go on and on—but I borrowed a lot from all of them when crafting the women of Aven. They were smart and resourceful despite the confines of their society, and whether they played within the boundaries or dared to transgress, they made an impact.
DJANGO: For me this is all about using history to inform my worldbuilding, rather than define it.
I like to think of using history as a case study, an example, rather than a blueprint to be literally followed. If you have a fantasy situation—a type of warfare, an environment, a resource distribution—history provides you with examples of how real people adapted to it, made use of it, and generally applied their ingenuity. People, by and large, don't do obviously stupid things (at least not for very long) and so generally the fact that a society was set up in such-and-such a way and lasted for hundreds of years means that it worked pretty well! (In our modern times of plenty, this can be hard to comprehend; for most of human history, "everyone not dying of starvation" was a great accomplishment requiring constant, unrelenting work.)
This is not to say, of course, that it had to be that way, or that any other way is "unrealistic." The key is to use the historical analogy to understand the kinds of thingsthat were challenges for those people. If they live in, say, a desert, they will have adapted to it in every way: dress, food, shelter, etc. When you read about how they lived, the important thing isn't to copy it exactly, but to make sure that your fantasy people have answers to the same challenges—this is what gives the book verisimilitude!
What I generally find is that no amount of me sitting down and reasoning out the problems people face, a priori, goes even a fraction of the way toward actually understanding those problems; history inevitably throws up fixes that people invented for problems I would never have even considered. (In late medieval France, knife-sharpeners carried circular whetstones—we're talking big, 50 pound stones—on their backs as they went from village to village. The rest of their setup could be constructed from local wood, but big stones of sufficient hardness were very hard to find, and drilling a hole through the middle for the axle was a capital investment!) Lifting these little vignettes for my fantasy society gives it that feel of realism I crave, while still leaving sufficient room to change the aspects of the past that I'm not eager to replicate.
CASS: What gets really fun there is, if you are using a specific historical inspiration but want to make really significant changes, figuring out what happens when you flick the domino. I'm working on a new project now that's a secondworld fantasy instead of an alternate version of our world, but it's inspired by early modern London and the vibe of Shakespeare's theatres. I'm working from that base because I want that aesthetic—but I also want this society to have gender equity, I want them to be accepting of queer identities, I want them to be polytheistic, and the government is more like Venice than England. Those are some really big changes from London in 1600, even before adding magic to the equation!
So then I get to figure out what else in society those things touch: clothing, industry, family structure, bureaucratic structure, and so forth. How would these people, with their worldview, find similar or different answers to problems than the historical examples I'm inspired by? This is why I love worldbuilding, because I find that such a fun game. There are so many possible answers, and I tinker until I find the ones that best fit the story I want to tell.
CASEY: Oh, funerary monuments is a great tip. There's a newsletter called Ælfgif-who? on biographies of early medieval English women, and it's fascinating to see what the author can construct from a combination of records and artifacts and the biases involved, what's said and what's conspicuously not said, what she can guess versus what there's hard evidence for. As a fantasist, I love the possibility space those gaps create that I can fill in.
As Django points out, people have been problem-solving throughout history, and that's not limited to wealthy men. If the records don't talk about what women were doing, it doesn't mean they were sitting on their laurels all day or just accepting whatever men figured out, and you can often get a sense for the space they occupied in the gaps—and if you can't, those gaps can give you ideas for what space they couldoccupy—in history, or in a story.
I think it's also worth noting that historical research can give you a sense of what kinds of social systems go together. I remember reading a fantasy book with a setting inspired by Japan that had all these features that have existed in Japanese history but not at the same time. So it was this mess of things that didn't make any sense together, because the author hadn't paid attention to the historical context.
I don't write historical analogue settings, but even for secondary world fantasy I find it useful to pay attention to what features can work together, and that's especially important once you start changing aspects to suit your story. A society with cell phones is not going to work the same way as one with post. A society where most people can't read won't work the same either! And this matters because it determines what kind of plots you can write, but it's also not super efficient to consider every aspect of the worldbuilding. Like, in a given story I may not need to know how laundry works, or the sewers, or what toys children are playing with. (Sometimes, sure! But not every time.)
But I probably need to know what people are wearing so I can describe them, so it matters what kind of clothing their technology could make and what it costs. I need to know how they communicate with each other, because they're going to do that in pretty much any story.
So I start with a character and plot concept and work backward to build the world around what the story requires them to do, and I do it in this order because otherwise I am exactly the person who will get lost in a worldbuilding rabbit hole at the expense of actually writing the story. But once I start figuring out some of the tentpoles like, This person's unique education makes them critical to the plot (why do they have that education? what education is available to other people?), or more generally, Our heroes will not be able to call for help because the message won't arrive in time (how far does the message need to travel, and how long will it take, and how long to get a response?), that starts to tell you the kinds of things that will be important to put together to make a world that feels internally consistent and enablesyou to tell your story.
If your heroine is rebelling against an arranged marriage, it's worth asking how common arranged marriages are and why and for whom. Like, the whole culture of debutantes in regency England emerged out of economic changes! Social institutions are intertwined, you can't just treat them as piecemeal. But if you do it right, the research gives you more things to play with that inform your characters' histories and choices rather than restricting you based on what "really" happened. Then it's just a matter of focusing on the pieces that actually matter to the story you're actually telling or enhance it in some way.
Lastly, I would be remiss in talking to you specifically about focusing an audience without asking how you use rhetoric to do that very thing (you can find Cass' deep dive on rhetoric in Hamilton, backed by Lin Manuel Miranda himself, on her Patreon). A common piece of writing advice is to never actually write the impossibly dramatic speech in fiction, because it will never be as impressive to readers, and instead focus on the characters' reaction or experience. Do you agree? And are there particular rhetorical devices you like to use to help focus readers' attention on what you want them to notice, whether it's a part of an argument in dialogue or in conveying information in the narrative?
CASS: Oh, you've done a dangerous thing, opening the door of rhetoric for me!
I love rhetoric so much. It's gotten a bad reputation in modern parlance, since most people only ever hear the word in a negative context—political rhetoric, violent rhetoric, and so forth. But rhetoric is nothing more and nothing less than structuring your words to achieve a desired effect. It's deeply woven into everything writers do, whether or not you're the kind of ultra-nerd who memorizes the Greek names for a few hundred devices. I think some of the best writers (like Shakespeare and LMM) do it in part instinctively, because they have such a good ear for how people speak and for the cadence of language, but it's also a skill that you can hone and train.
Rhetoric serves many purposes, and a lot of it is about crafting a character's voice, both in dialogue and in their POV narration. It lends a lot of texture to the story, and it's something I find particularly useful in crafting multi-POV books. Subtle shifts in how characters use language can help center a reader within each individual POV.
In dialogue, I think about vocal quirks that are marks of character and tell you something about the speaker, then I use rhetoric to craft the effect. Who's prone to using more words than necessary, either because they like hearing themselves talk or because they're babbling (devices like pleonasm and accumulatio)? Who likes intricate descriptions (enargia), and who's a champion of deadpan understatement (litotes)? Who, in a state of excitement or eagerness, asks too many questions without waiting for an answer (pysma)? Who's so pompous or instructive that they answer their own questions (anythypophora)? Not that rhetoric is the only tool for playing with these things, of course, but it's the frame I personally like best.
It gets particularly fun when I get to write political arguments, because those speakers are conscious of their own devices to the point of weaponizing them. They'll ask lots of what we call rhetorical questions (erotema), where there's an obvious answer that they're looking for; they'll repeat their ideas in sets of three (tricolon), because that helps the audience to remember them; they'll seize on an important word their opponent used and twist it around some other way (asteismus). They're deliberately showing off, and following the minutiae of the argument often isn't as important for the reader as understanding that they're tweaking each other and trying to one-up each other. The rhetoric lets me communicate those character dynamics in fun ways—similar to the "Cabinet Battle" scenes in Hamilton!
Writers have rhetorical tics, too, which can sometimes become a vice, if you're not aware of them, but which are also part of each author's unique voice. I'm particularly prone to a certain combo of devices: zeugma plus anaphora/isocolon. Zeugma is when two or more words, phrases, or clauses are dependent upon the same other word (usually the main verb of a sentence), as in "I love you truly, madly, deeply." All three adverbs hang on the same main verb. Anaphora is repetition of the same word or phrase at the beginning of successive clauses, and isocolon is parallel structure. "I came, I saw, I conquered" is an example of both: the repeated "I" at the beginning and the structure of "I + [past tense verb]".
I then sometimes layer that combo with auxesis, a series of clauses or phrases that gradually ascend in importance. You make a list, and the most important thing is last. That's the traditional definition, at least, but I had a professor who argued that auxesis can also work in the opposite direction, where your series diminishes rather than growing, and I do think that can be equally impressive, especially when you want to narrow a reader's or listener's focus. So, the zeugma-anaphora/isocolon-auxesis combo move gives me the opportunity to show a character becoming more intense or more pointed as they're working their way through a thought. If that ends up being shaped like self-correction, then it's also epanorthosis. I recognize that I'm nerding hard at this point! But this is what I find so fun about rhetoric: the devices don't operate in isolation, but layer and intertwine to craft specific moments and that desired effect on the reader.
As to writing the Impossibly Dramatic Speech—I don't think it is impossible, but I do think it's something to use cautiously. You have to pick your moment, for one thing, and it's not always the moment you might think. Not all magnificent speeches are Henry V bucking up his followers on the eve of Agincourt. Sometimes, the magnificent speech is a lover pleading to be heard, a con artist deceiving a mark, a sister quietly giving advice. (See? I told you I'm prone to the zeugma-anaphora/isocolon-auxesis combo!)
It's easier to get away with the big speech on stage or film, because there, the actor is an essential component of the equation. On the page of a novel, the writing itself has a heavier load to carry. So I think you can get away with presenting a well-crafted Impossibly Dramatic Speech in a well-chosen moment, but not all in one block. Interposing the speaker's words with other elements helps to break it up and remind the reader why the speech matters. Maybe you cut away to show the audience's reactions; maybe you cut inside the speaker's head to show them nerving themselves up for it, or debating what to say next, or consciously choosing where they pause.
And here I'll throw another device at you: within a speech, choosing to pause is called aposiopesis. Mark Antony does it at the end of the first bit of his "Friends, Romans, countrymen" speech, when he says he's been overcome with emotion, "My heart is in the coffin there with Caesar, and I must pause till it come back to me." Practically speaking, that gives the actor a break so they don't have to do 140 lines all at once, but it also gives the plebeians a chance to speak and the audience a chance to witness how Antony's words are having an effect. In a novel, a writer can effectively use aposiopesis in another way, breaking the speech up with descriptive elements, which helps to ground the lofty rhetoric back in the reality of the world and the immediacy of the moment.
CASEY: Rhetoric gives us so many tools to play with! Thank you for all those examples. I think it's worth highlighting your point that writers don't have to know what specific rhetorical devices are called to be able to employ them effectively. Adjusting sentence structure and word choice to match character or moment or the rhythm of the plot is doing exactly this work, paying close attention to howyour words are working.
Strategic repetition is a favorite of mine. I love repeating a structure multiple times in a row, particularly with paragraph breaks, because then the white space and alignment helps emphasize what I'm doing. That's something you can't do the same way in other mediums! I also love repeating a line a different character said and twisting its meaning in later dialogue—you have to in some way make sure the reader recognizes the reference, but there are lots of ways to do that.
With novels, we can't rely on visible reactions from the audience or an actor's delivery, but we can manage pacing with punctuation, with narration interspersed or removed. I also love doing the equivalent of an anime peanut gallery ("Did she do it?" "Yes, the attack landed!" "But look at her—now she's almost out of power; she only has one more shot. Will she last another round?") as a way to make sure the reader notices the undercurrents and how they're changing the stakes. And that works just as well in fraught conversations as fight scenes.
This can be especially important in scenes like political debates that are doing heavy interplay of character dynamics, but depending on the scene's goals, sometimes you can do this with telling, too, rather than showing—in The Hands of the Emperor,there's an anecdote about a character capping a joke perfectly; we never learn the joke or the reply, but the content of the words isn't what matters in this case as much as the context, that these characters having just met are able to match each other with no regard to the impropriety. That said, if we're instead in a romance where a plot beat hinges on one main character changing the other's mind, in almost all cases we're going to need that whole conversation to track the minute character shifts that drive romances at their core—and you can give those conversations extra impact by grounding them in the specific words they've said to and thought about each other before.
DJANGO: Rhetoric is an area where I don't have much training, I have to say, so I'll be the one who goes for "don't actually write the speech out." =) I do a fair bit of this in The Shadow Campaigns, in particular for Danton's magically-effective speeches in The Shadow Throne, which obviously aren't going to be replicated in text. In addition to the problems of being able to actually write a good speech—as Cass demonstrates, there's a lot more going on there then you might think!—it can also be hard to replicate the effect on an in-universe audience.
First of all, while the people in the book are hearing something delivered live, the readers are getting it written down, stripped of the power that a really good speaker can give it. Second, the diegetic audience are different people than the reader, with a different set of cultural assumptions and values. This can be as simple as feeling a stir of pride when language or music evokes national symbols, and goes all the way to complicated cultural markers and tropes. (What we'd today call memes!) The best rhetoric is often the most targeted at its specific audience, specifically because that can be so effective, but the result can leave modern readers cold. It's definitely one of those areas that depends on the author's strengths and the style of the narrative.
Cass, what have you been working on, and what's coming up for you next?
CASS: The Bloodstained Shade, Book 3 of the Aven Cycle, just released at the end of January. It's out in paperback and ebook now, and there's an audiobook coming in May. There will be a Book 4, someday, but at the moment I'm working on something entirely different—the secondworld fantasy inspired by early modern London that I mentioned earlier. That's still in drafting stage, and I'm so enjoying the ongoing application of everything I've learned about worldbuilding and writing craft in the past few years.
Event-wise, I'm doing a virtual workshop on developing magical systems for the Orange County Public Library on March 21st—open to anyone, whether you're an OCPL member or not! Then I'll be at RavenCon April 21-23 in Richmond, VA and at ConCarolinas June 2-4 in Charlotte, NC.
For more worldbuilding goodness, you can find me along with co-hosts Rowenna Miller and Marshall Ryan Maresca on Worldbuilding for Masochists, our two-time Hugo Finalist podcast! Available on all your favorite podcast platforms, with new episodes dropping every other Wednesday. We start our fifth year in June, and we'll be kicking off the season with a pretty exciting announcement!
I usually direct people to Twitter @CassRMorris as the best place to find me for general chatting, and while that's still the best place for now, with the increasing instability of the old bird, I'll also direct folks toward my LinkTree, which will always have the most up-to-date social media haunts, and my Substack, for major announcements and random acts of blogging.

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Crunchyroll, along with Funimation, has acquired the rights to the film and will be responsible for its distribution in North America.Therefore, we recommend our readers to look for the movie on the streamer in the coming months. subscribers can also watch dark fantasy shows like 'Jujutsu Kaisen.'
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No, 'Avatar 2 The Way of Water' is unavailable on Hulu. PAvatar 2 The Way of Waterple who have a subscription to the platform can enjoy 'Afro Samurai Resurrection' or 'Ninja Scroll.'
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Amazon Prime's current catalog does not include 'Avatar 2 The Way of Water.' However, the film may eventually release on the platform as vidAvatar 2 The Way of Water-on-demand in the coming months.fantasy movies on Amazon Prime's official website. Viewers who are looking for something similar can watch the original show 'Dororo.'
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It features an ensemble cast that includes Florence Pugh, Harry Styles, Wilde, Gemma Chan, KiKi Layne, Nick Kroll, and Chris Pine. In the film, a young wife Avatar 2 The Way of Water in a 2250s company town begins to believe there is a sinister secret being kept from her by the man who runs it.
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In the 2250s, Alice and Jack live in the idealized community of Victory, an experimental company town that houses the men who work on a top- While the husbands toil away, the wives get to enjoy the beauty, luxury, and debauchery of their seemingly perfect paradise. However, when cracks in her idyllic life begin to appear, exposing flashes of something sinister lurking below the surface, Alice can't help but question exactly what she's doing in Victory.
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In ancient Kahndaq, Teth Adam bestowed the almighty powers of the gods. After using these powers for vengeance, he was imprisoned, becoming Avatar 2 The Way of Water. Nearly 5,000 years have passed, and Avatar 2 The Way of Water has gone from man to myth to legend. Now free, his unique form of justice, born out of rage, is challenged by modern-day heroes who form the Justice Society: Hawkman, Dr. Fate, Atom Smasher, and Cyclone.
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Also known as Черния Адам
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Production companies : Warner Bros. Pictures.
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At San Diego Comic-Con in July, Dwayne “The Rock” Johnson had other pAvatar 2 The Way of Waterple raising eyebrows when he said that his long-awaited superhero debut in Avatar 2 The Way of Water would be the beginning of “a new era” for the DC Extended Universe naturally followed: What did he mean? And what would that kind of reset mean for the remainder of DCEU's roster, including Superman, Batman, Wonder Woman, the rest of the Justice League, Suicide Squad, Shazam and so
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Avatar 2 The Way of Water neared theaters, though, Johnson clarified that statement in a recent sit-down with Yahoo Entertainment (watch above).
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“I feel like this is our opportunity now to expand the DC Universe and what we have in Avatar 2 The Way of Water, which I think is really cool just as a fan, is we introduce five new superheroes to the world,” Johnson tells us. Aldis Hodge's Hawkman, Noah CentinAvatar 2 The Way of Water's Atom Smasher, Quintessa Swindell's Cyclone and Pierce Brosnan's Doctor Fate, who together comprise the Justice Society.) “One anti-hero.” (That would be DJ's Avatar 2 The Way of Water.)
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“And what an opportunity. The Justice Society pre-dated the Justice League. So opportunity, expand out the universe, in my mind… all these characters interact. That's why you see in Avatar 2 The Way of Water, we acknowledge everyone: Batman , Superman , Wonder Woman, Flash, we acknowledge everybody.There's also some Easter eggs in there, that's what I meant by the resetting.Maybe 'resetting' wasn't a good term.only
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one can claim to be the most powerful superhero .And Johnson, when gently pressed, says it's his indestructible, 5,000-year-old Kahndaqi warrior also known as Teth-Adam, that is the most powerful superhero in any universe, DC, Marvel or otherwise
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. "By the way, it's not hyperbole because we made the movie."And we made him this powerful.
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There's nothing so wrong with “Avatar 2 The Way of Water” that it should be avoided, but nothing—besides the appealing presence of Dwayne Johnson—that makes it worth rushing out to see. spectacles that have more or less taken over studio filmmaking, but it accumulates the genre's—and the business's—bad habits into a single two- hour-plus package, and only hints at the format's occasional pleasures. “Avatar 2 The Way of Water” feels like a place-filler for a movie that's remaining to be made, but, in its bare and shrugged-off sufficiency, it does one positive thing that, if nothing else, at least accounts for its success: for all the churning action and elaborately jerry-rigged plot, there's little to distract from the movie's pedestal-like display of Johnson, its real-life superhero.
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It's no less numbing to find material meant for children retconned for adults—and, in the process, for most of the naïve delight to be leached out, and for any serious concerns to be shoehorned in and then waved away with dazzle and noise. Avatar 2 The Way of Water” offers a moral realm that draws no lines, a personal one of simplistic stakes, a political one that suggests any interpretation, an audiovisual one that rehashes long-familiar tropes and repackages overused devices for a commercial experiment that might as well wear its import as its title. When I was in Paris in 1983, Jerry Lewis—yes, they really did love him there—had a new movie in theaters. You're Crazy, Jerry."Avatar 2 The Way of Water " could be retitled 'You're a Superhero, Dwayne'—it's the marketing team's PowerPoint presentation extended to feature length.
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In addition to being Johnson's DC Universe debut, “Avatar 2 The Way of Water” is also notable for marking the return of Henry Cavill's Superman. The camAvatar 2 The Way of Water is likely to set up future showdowns between the two characters, but Hodge was completely unaware of it until he saw the film.
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“They kept that all the way under wraps, and I didn't know until maybe a day or two before the premiere,” he recently said Avatar 2 The Way of Water FULLMOVIE ONLINE
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Viewers are saying that they want to view the new TV show Avatar 2 The Way of Water on Hulu. Unfortunately, this is not possible since Hulu currently does not offer any of the free episodes of this series streaming at this time. the MTV channel, which you get by subscribing to cable or satellite TV services. You will not be able to watch it on Hulu or any other free streaming service.
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Unfortunately, Avatar 2 The Way of Water is not currently available to stream on Disney Plus and it's not expected that the film will release on Disney Plus until late December at the absolute earliest.

I adopted Lucy (2.5 years old) a little over 5 weeks ago. She's a very sweet cat, not extremely cuddly, but she does like to be petted. She's very playful and demanding of my attention.
I love her, but I can't seem to get into some sort of everyday rhythm with her. I don't dare to cook with her around because I worry she's going to get hurt. It's an open kitchen, though, (like the rest of the house, think loft style, but in a house) so it's impossible to keep her out.
I always worry about her getting hurt somewhere in the house. The anxiety is almost constant.
I actually feel like a regretful parent. I don't think I'm cut out to have pets, although I've wanted a cat for years. As much joy as she brings, I feel stuck. And it doesn't seem to be getting any easier.
There are moments that are wonderful. Today Lucy slept on my lap for the first time and that made me really happy. Then a few hours later, I'm so stressed out again that I can't even eat and I want to cry. And this is with a cat that's relatively easy to handle. Has anyone ever felt that way? Can anyone understand?

Hello,
I am preparing to apply for an English taught masters in Anglophone Modernities at Potsdam University, and was wondering if anyone on this sub has gone through the same program and has experiences they could share. I’ve read the wiki and done a lot of research already, but since I am looking at a comparatively niche program I was wondering about people’s insight on its viability for my goals and situation. For context, I have a B.A in comparative literature from a US liberal arts college, and speak English, French and Spanish but not yet German.
I actually almost got in for the summer term, but due to a paperwork issue that I’ve managed to resolve (this was communicated to me by the department chair) I need to reapply for the fall. I’m an EU citizen and my plan is to move in the summer and take a language intensive (found an affordable course for less than 300 euro for 6 weeks in Berlin, but if there’s a cheaper option I’m absolutely open) and to take my savings with me to find part time work/housing before most students arrive in June.
I want to do an English taught masters near berlin (yes, Potsdam is not berlin, but within commuting distance anyway!) for some of the typical reasons: it’s an exciting city and especially an appealing place to be in my twenties, I’ve met Berliners and really resonated with things they like about living there, I want to be around art and culture without the grind of other big cities (though I know this is has changed), and I’m genuinely interested in learning German and living in a new culture (I have lived abroad before, and am familiar with a lot of the challenges).
More specifically, though, I want to use this time and the degree to focus on Caribbean literature (which they seem to have a couple people working on) and while studying post colonialism in Germany is probably not the obvious choice, this seems like the best way to position myself to leave options open to going for a funded PhD later on at an anglophone university within that niche of study. Since I have an eu passport I want to stay open to the possibility of really settling in, but the language learning + masters route seems the most realistic given that I don’t have an immediately employable degree. As cliche as it is, I want to build a life in Berlin and that’s informed a lot of the plan.
Anyway, I would love to hear about peoples experience with the uni/degree if they have any, or insight on coming to Germany (Berlin particularly) for an English masters and staying! Thank you for reading!

I know theoretically it’s a ‘compliment’ and a form of flattery but it feels like it’s somewhat weirdly competitive now and it’s been happening so much more recently.
I’ve been friends with her since 20 (now 26) and her style has changed drastically, obviously that’s quite normal in those formative years but one thing about me is I’ve always been quite sure of my ‘style’ and hobbies/interests, art, music, architecture, furniture, fashion the list goes on.. I started picking up on her copying things I’ve said and certain interests that were seemingly out of nowhere and I didn’t think much about it for a while until a few at once happened and another person bought it up to me privately, I noticed I would state an opinion or a statement and then the next day she would say it by word in front of me and friends but like she’s the one who first said it. I thought this was odd but just thought she can’t remember who told her and is just relaying information that she heard but it happening in other aspects makes me think otherwise. Music, I will show her a band or song I really like that is sometimes my favourite song and she will claim them as her favourite band the next week and it turns into her entire personality, so much so that she constantly tells people so that they perceive her a certain way. She then buys books or merch and shows me like I’m unaware of them, it’s not ‘we both love this ‘ it’s ‘this is my thing now’ same with her house decor and style. Ive just played along because it’s not harmful in anyway but it feels like she’s constantly trying to one up me and I hate that’s how the dynamic is because I love having friends with similar interests but this feels entirely different. Last week I bought a book to learn a new craft that I’m very interested in, and I showed her my book. instead of openly stating this is something she’s interested in as well and we can learn together, she orders a similar one and i only find out because she’s telling our friends about it and her plans. now telling everyone and me personally that this is what she’s into now, so now it’s weirdly like if I try and do it now I’m the one who is copying her because she declares it to the world and I have to just let her have it. I haven’t even bought all the things neede to start and she’s said how her neighbours are helping her. It’s gotten so silly recently where I had this notebook, she saw it and I literally told her where to get them because I knew what would happen anyway, she texts me saying look at my new notebook and explaining the pages to me like I don’t have the same one or told her about it. I told her I was looking for a vintage waistcoat and a few days later she’s buying a similar one that’s nowhere near her size. It’s starting to scramble my brains because I don’t know her intentions anymore. It’s almost like she’s mad at me sometimes. It just makes me feel like I can’t share the things I like with her but it also don’t even know if I’m justified to feel this way and if it’s something I just need to work on. I have friends where we have introduced things to eachother and it isn’t like this at all. If so, how do I go about this situation?

Criston tried to remember. Had there even been a time he had been angrier than he was now? No. Not the first time had been denied his knighthood, not the countless times he had been ridiculed for his low birth, not even the time when his closest friend had been murdered by the Dornish in the night. He had loved Rhaenyra. To have stood by her side for the rest of his life would have been enough. But she had proved that she cared nothing for him. She deceived him into sullying his cloak, with no care to how she was protected while he was not. And why? Simply because she had been rejected by her uncle. He felt like an idiot for even thinking there could have been any other reason. But the Queen. She forgiven him. He had told her of his sins and she had forgiven him. He knew what he had to do.
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He stepped out into the field. Sword in its sheath, his flail in his right hand, his shield in his left. He had not participated in the joust, causing a great many to wonder where the princess' sworn shield could be, and the princess to instead grant her favor to Harwin Strong. But a royal weeding needed a melee as well, and now it was time.
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"And here comes the new legend! Greatest of his grace's Kingsguard! Symeon Star-Eyes reborn! Ser Criston Cole!" The announcers shouted over the roars of the crowd. But Criston simply stepped to the royal balcony. There he looked up, not at the princess, but towards Queen Alicent. "My queen, I would humbly ask for your favor." The Princess looked shocked, the Queen as well, but she recovered quickly. Wordlessly, but with a kind smile, she elegantly cast a green sash towards him. He tied it around his right arm, the only color on his otherwise ice-white armor, then turned around.
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The announcer kept speaking but Criston wasn't listening. Nothing mattered aside from the battle, it was simply a matter of waiting. Finally, when Criston thought he was about to grow wrinkles, the announcer said "BEGIN!" Immediately he sprang into action, his first opponent was a knight of House Frey. Criston battered his his opponent's shield away, then immediately his used own shield to knock him down. He then hammered his flail into his opponent's shoulders until he shouted. "Yield! I yield!". Criston moved on.
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His next opponent was his Kingsguard brother Steffon Darklyn. He knew Criston's fighting style and his defense held, until Criston feinted towards Steffon's right, only to instantly pivot to his own right, smashing his flail into Steffon's left leg. He then knocked him to the ground and held up his flail, but Steffon yielded as well. Criston moved on.
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"Ser Crispin!" Gods it was the idiot Prince. He continued with some ridiculous mockery but Criston wasn't listening. "Did he ever stop talking?" Criston wondered to himself. Then just as the prince was in the middle of a jest Criston struck. His arm like lighting, his flail thundering on the Prince's shield and shattering it with a single strike. The Prince attempted to counter, almost driving Criston back, but his years spent fighting pirates and slavers had not prepared him for a true knight. Criston used the chain of his flail to wrap around Dark Sister, pulling it from the Prince's grasp while knocking his shield into his helmeted chin at the same time. The Prince fell to the ground, attempted to grab his sword, but Criston but his boot on the Prince's hand, and struck him on the side of the helmet. The Prince did not get up, alive but unconscious. Criston moved on.
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Then there was Harwin Strong. Still wearing the Princess's favor on his arm. There was no smile or jest from him, he seemed to at least understand what was happening. Covered head to toe in plate and wielding a long battleaxe, he attempted to keep Criston at a distance. Using his incredible strength and the weapon's momentum to strike quick as the wind, again and again. Not a single one came even close to Criston but he was unable to advance. Then he threw his shield away, grabbed his flail with both hands, and rushed forwards. Harwin put all of his strength in a downward chop aimed right at Criston's head. If it hit it would have gone straight through the helmet and cut his very skull in twain. It did not hit. Quicker than even he thought was possible, Criston dodged to the side, turning around so that he was standing beside Harwin, and then drove his flail straight into Harwin's right knee with all his might. Harwin shouted like he was half-giant, and fell to his other knee, but Criston didn't relent, striking even harder and aiming for Harwin's right shoulder. Harwin fell to the ground, awake but in too much pain to stand. Criston moved on.
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There was only one left. Ser Joffrey Lonmouth. Laenor Velaryon's favorite. He seemed almost scared but still ready to fight. "At least he isn't a coward." Criston thought to himself. Then he let go of his flail, after that he took off his sword belt, finally he removed his helmet. They fell to the ground but he kept on walking closer and closer. Finally Lonmouth lost his nerve and struck right at Criston's throat, as if to sever his head from his body. To his credit, the strike was fast and strong, Lonmouth was clearly a better knight than most. But compared to Criston he might as well have been a child. Criston grabbed the swords with his gauntlets, then back-handed Lonmouth with enough force to make him lose his grip. Then he delivered an armored punch right at Lonmouth's temple. Lonmouth fell on his back, his mouth gargling as if he was attempting to speak. Criston didn't let him. He simply punched. Again and again and again. Until there was barely anything left of Lonmouth's face.
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He could hear screams, both men and women. When he turned around there was still a few knights standing, but as he looked on them they wordlessly let go of their swords and retired from the field. The announcer attempted to name him the victor, but he simply walked back to the royal balcony, knelt before Alicent and then retired from the field.
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The gauntlet had been thrown

Like u/DanaGordonLine1 I also pulled on all day at a tournament site for the first round. I had been looking forward to seeing the games in Columbus for a couple years now. For Christmas I asked only for money to pay for decent tickets and a hotel stay. Here's my recap:
First of all, as a Cincinnati resident, I wish somehow the city could get in gear already and do something about Heritage Bank Center. In case you forgot, Cincinnati was supposed to host this round in 2023 contingent on a renovation to the arena. It didn't happen, so Columbus benefits. The NCAA Tournament joins the RNC as events that passed Cincinnati over. It's bad enough name brand music acts hit the YUM Center in Louisville before HBC. I've been paying close attention to college basketball for nearly 25 years and Cincinnati has to be the only major or secondary city in the continental US to never host a round in the NCAA Tournament. Astounding considering we have two major league pro teams (three if you count FC Cincinnati), two tradition rich college basketball programs in the city and a handful of other D1 programs within a two hour drive. Look at some of the cities that have gotten to host in this era: Albany, Des Moines, Birmingham, Greensboro, Spokane, Boise, Omaha, Providence, Wichita, Greenville, Hartford, Columbia. Cincinnati can't get in the same breath as these cities? Embarrassing. Not like you even need a major tenant to justify a good arena. Wells Fargo Arena in Des Moines is home to minor league hockey, the G League, and arena football. The T-Mobile Center in KC doesn't even have a permanent tenant. I wonder how KC residents feel about having it.
Game 1: Michigan State vs USC. The best fanbase in Columbus all day was CLEARLY Michigan State. Nationwide Arena turned in East Lansing - South with partying Sparty fans filling the joint. If you told me there were more dedicated Sparty fans than Marquette, USC, Vermont, and neutral fans combined in session 1, I'd believe you. On the flip side, USC might have been the lightest fan base of the day. There were more Marquette fans in the building for the MSU/USC tipoff than Trojan fans. I know it's a cross country trip for USC and Columbus is not a terrible road trip from Milwaukee, but I thought I'd see more out of a college sports brand name. The game itself was a nice one to whet the appetite. Lots of dunks and ath-a-letes all over the floor. I also happened to sit next to the father of a former Ohio volleyball player from Grand Rapids. That was a nice coincidence.
Game 2: Marquette vs. Vermont. I was most looking forward to this one going in. I thought it had the most realistic chance of upset drama and atmosphere if the Catamounts were still in the game with 10 minutes to go. Early in the second half, Vermont cut the deficit to 45-40 and followed with three or four stops, but couldn't capitalize any closer and Marquette started to pour it on. The Eagles' Kam Jones had an insane stretch during this run where he scored 18 straight points. Most impressive player of the day.
I parked about a block and a half away next to the minor league baseball stadium for $15. Very agreeable. Took the break time to check into my hotel across the highway from OSU. I decided to walk the two miles back to the arena since Hofbrauhaus was about the halfway point. Had a delicious jaegerschnitzel and a liter of green beer as I watched the Creighton and UConn games.
Game 3: Purdue vs FDU. I completely wrote off FDU beforehand. I watched their Texas Southern play-in game and felt they at least played a style that gave them a chance against anyone, but I thought the size discrepancy with Purdue would just be too much to overcome. Talk about an ultimate never-say-never. That may have been the best played and best coached game from that level of underdog I've ever seen. Just amazing some of the sequences that took place in that game late considering the personnel from either team. Purdue's refusal to attempt two point shots, FDU's little guys flying everywhere for rebounds, sub-6'0'' guards blocking shots at the rim. IT was all the drama I could have ever hoped for out of my first trip to Tournament games.
Game 4: FAU vs Memphis. It's too bad the crowd thinned out for this one as the 8/9 games aren't all that intriguing from an upset/drama potential standpoint. This game also took us through midnight. I decided to upgrade from the upper deck down to the back of the FAU section for this one. I didn't realize that was FAU's first-ever NCAA Tournament win. That makes the late game drama all the sweeter. I had a great angle for the go-ahead shot. Pure elation from every angle. I have video of FAU bros darn near kissing each other they were so happy. From a talent and X/O standpoint, I do think Penny is doing a good job at Memphis, but his locker room would be about the last place I'd want to be day in and day out if I were a college athlete. Near fisticuffs in the huddle, chucking a water bottle in disgust in a game you lost fair and square.
Cell signal and wifi were pretty much non existent in the arena and they didn't use any of the LED or monitor space for score updates. No updates from the PA either so it was pretty much impossible to keep up with the other games. I found a bar afterward to watch the end of Kent/IU, but IU made sure I didn't need to stay long. $30 for a two mile Uber ride back to the hotel can get fucked.
All in all, the day was everything I could have hoped for. Session 2 attendees sure hit the Powerball. I wasn't even all that tired at the end. I'm going to try to do this again next year in Indianapolis.