#Importing a lesson with differentiated sequences

[baltears]

thots on finishing my second full rewatch of crazy ex girlfriend

god if only my identity issues and lack of career goals could be miraculously resolved by just noticing an intense passion ive always had bubbling under the surface but that it just never occurred to me to pursue for some reason. sarah marshall voice MUST BE NICE.

this is an amazing and incredible show for a lot of reasons one of which is its very firm adherence to thesis but there are also times where it feels like the writing cant get out of its own way because of this. e.g. actively sabotaging nathaniel as a love interest in ways that dont totally make sense given his past characterization because its important for story reasons that he not outpace greg or josh in terms of personal growth or attachment/importance to rebecca. like as early as mid-season 3 hes clearly already undergoing a lot of the changes that would make him a more kindhearted and respectful person but then in season 4 he just kind of. forgets them temporarily so that rebecca will break up with him and make him learn a lesson that he appeared to have halfway already learned. idk it feels like a bit of a nitpicky problem because there really is no easy fix for this writing-wise but i did notice it

valencia being team greg does not make sense to me. it just does not. valencia and greg never really had a dynamic that differentiated itself from her dynamic with the rest of josh's friends, and she had no response to greg and rebecca being together when that happened because her character wasnt relevant to that plotline at the time so her rooting for them to get back together just seems to be based totally on secondhand knowledge of what their relationship was like that we don't even see her get. i understand that heather picked nathaniel because they had their little bonding moment in 4x06 and paula picked josh because she was og team josh and likewise because they also bonded a bit in the same episode but i personally feel valencia-josh heather-greg paula-nathaniel would have made more sense. valencia really cooled on josh after their breakup (to a degree i honestly found to be a bit much, she basically treats him like hector whom she actively disliked until 4x10 and its like. hello???) but she did sincerely love him at one point and tbh i think they should have had a little reconciliation arc and she should have been rooting for joshbecca, heather likewise dated greg and knows him really well and saw firsthand how much he loves rebecca, and paula is close to nathaniel because they work together and she saw his personal growth from collaborating with him on the pro bono cases. idk. i like 4x06 but i also feel like there wasnt really a need for heather to learn to like nathaniel because they werent clearly shown in the past to have a negative dynamic based on dislike or disrespect and likewise with paula and josh. it made sense kind of but it could have made more sense.

season 4 in general is a total mess and i think it just comes down to the season having way too many episodes and not enough to fill them. all the greg and rebecca stuff is good, the nathaniel dream sequence episode is great use of filler, i love the development of josh and rebecca becoming friends again and then catching feelings, and i love the denouement for paula in particular as well as heather and valencia although i think the latter two dont have as much substance and some of the conflict in them feels contrived. but in general everything is stretched out wayyyy too much, the songs feel sparser and weaker (theres like four or five that i would consider really great and would happily listen to on a regular basis but that's out of an entire season's worth of songs after three seasons of almost nonstop bangers) and multiple episodes that just feel like the show spinning its wheels. 4x09 in particular is a weak point and might actually be my least favorite episode, i cant believe they thought anyone was going to get excited about the prospect of rebecca fucking the random tinder dude from 1x04 plus the cats parody songs are such a slog. tbh most of the back half of my personal episode ranking is filled out by episodes from s4. there are some memorable high points here and there but it really takes some endurance to get through the rest of the season

skylar astin greg. what is there left to say about skylar astin greg. hes just a different guy. i already made a post about him so i wont repeat myself too much. idk. hes okay, he does produce a greg-like impression, he has good chemistry with rachel. hes like greg flavored la croix. i definitely dont hate him in the role and in a lot of ways i think he was a great choice for the show (to be honest i think santinos charisma is so intense that it would have just been a bit much to put his greg in a horse race with josh and nathaniel, plus his dynamic with rebecca would have felt completely different and would have lacked that sense of 'hello, nice to meet you' that i do think was necessary for them at that point) but ill always be wistfully wondering what could have been if santino had been able to come back to reprise the character

honestly despite all its flaws in a way almost any criticism of this show feels like nitpicking to me because it's just so fucking great

[curriculummappingedusfere]

How are Teachers using Curriculum Mapping to Design More Effective Lessons?

If you’re an educator today, you’re juggling more than just lesson plans. You’re balancing diverse learning needs, rapidly evolving state standards, tech integration and parent expectations. And all of this all while ensuring every student in your class meets benchmarks. Does this sound familiar?

This isn’t just a teacher’s dilemma, it’s a system-wide challenge. But amidst the chaos, one strategy is quietly transforming how educators teach and how students learn — Curriculum Mapping. What was once reserved for administrative audits or end-of-the-year reviews, is now being embraced by teachers as a daily essential tool for planning lessons that are targeted, effective and equitable.

In this blog, we’ll explore what Curriculum Mapping looks like in the classroom, how it elevates lesson planning and why it’s becoming a cornerstone of modern day Curriculum Management.

The Growing Instructional Demands on Teachers

In the U.S. alone, 73% of teachers say they don’t have enough time to plan high-quality lessons due to increasing workload demands (RAND Corporation, 2023).

At the same time, classrooms are becoming more diverse- linguistically, culturally and academically. This is compelling educators to tailor their instruction more than ever. Yet most schools continue to rely on outdated curriculum templates, disconnected systems or over-reliance on textbooks. These limitations leave teachers feeling reactive, not strategic, and the stakes are high.

In fact, according to a McKinsey report, students who fall behind even one academic year may take up to three years to catch up without targeted interventions. That’s why the ability to proactively design lessons, instead of just delivering them, is a priority, and this is where Curriculum Mapping changes the game.

What Curriculum Mapping Really Means for Effective Teaching

Picture curriculum mapping as the Google Maps for teaching. It’s more than just a static document. It’s a dynamic, visual representation of what’s being taught, how, when and why. It ensures alignment with standards, assessments and desired student outcomes, guiding educators on the most effective path forward.

At the classroom level, it answers critical questions like:

Are we teaching to the standards or just to the textbook?

Are we scaffolding learning over time?

Are we identifying gaps and overlaps in instruction across grades or subjects?

Here are the core components of a Curriculum Map:

Learning objectives (aligned to standards)

Instructional strategies

Assessments

Resources and materials

Differentiation plans

Scope and sequence

And unlike static binders or shared Google Docs, modern curriculum mapping tools allow for collaborative, real-time editing, cross-grade insights and alignment with state and district mandates.

What does Curriculum Mapping look like at the Classroom Level?

Before we dive into the broader impact, it’s important to understand how curriculum mapping comes alive in day-to-day teaching. This isn’t just a strategic tool sitting on an administrator’s dashboard. It’s a living, breathing part of how teachers plan lessons, respond to student needs and align instruction with standards.

When done right, curriculum mapping becomes the invisible architecture that supports every classroom decision, from choosing a text to sequencing a unit.

1. Unit Planning with clarity and consistency

Instead of starting every unit from scratch, teachers refer to a mapped curriculum that outlines:

Grade-level expectations

Prior knowledge from earlier units

Interdisciplinary connections

This lets them build on previous learning, avoid redundancy and maintain pacing. Teachers can also co-plan with colleagues across subjects for integrated units (e.g., linking a 5th-grade science unit on ecosystems with an English unit on environmental fiction).

Research Shows: Schools that use collaborative curriculum mapping report a 35% increase in cross-grade instructional coherence (EdWeek Research Center, 2023).

2. Daily Lesson Planning with purpose

With curriculum maps, teachers don’t just pick activities. They align every lesson to a larger goal. For example, instead of just teaching a persuasive writing lesson in isolation, the teacher sees how it connects to:

State literacy standards

Upcoming assessments

A larger project (e.g., writing a letter to a local official)

This macro-to-micro view empowers teachers to prioritize time, differentiate early, and pre-empt misconceptions.

How Curriculum Mapping improves Lesson Planning and differentiation?

One of the most powerful impacts of curriculum mapping? It gives teachers visibility into student pathways and the ability to design interventions that actually work. Here’s how:

1. Better differentiation with data

With curriculum maps aligned to assessments, teachers can spot where students tend to struggle (e.g., fractions in 4th grade) and plan targeted supports ahead of time. They can group students based on readiness, modify tasks, or integrate scaffolds. More importantly, they’re not guessing, they’re planning with intent.

According to the Data Quality Campaign, 82% of teachers say having access to aligned curriculum data improves their ability to differentiate instruction.

2. Streamlining Instructional Gaps

Many districts struggle with instructional gaps between grades. A mapped curriculum solves this by :

Highlighting skills that are under-taught Identifying units with misaligned standards Ensuring vertical alignment from K-12

This helps in smoother transitions and reduces re-teaching time in subsequent grades.

3. Designing for Equity and Inclusion

Curriculum maps also help surface representation gaps like identifying a lack of culturally responsive texts or diverse historical perspectives. With this insight, teachers can enrich units, bring in varied voices and create inclusive learning experiences that resonate with every student.

The Role of Technology in Modern Curriculum Mapping

A modern curriculum management platform like Edusfere has transformed mapping from a manual task to a strategic advantage.

Here are the key benefits of using Edusfere for your curriculum management goals:

Real-time updates across teams

Alignment to national/state standards

Searchable and filterable maps

Built-in collaboration and feedback features

This kind of visibility breaks silos between departments, supports instructional coaching and ensures that everyone- from the principal to the paraprofessional, is working from the same playbook.

Research Shows: Schools using tech-driven curriculum mapping platforms report up to 40% more time saved in unit planning and 27% increase in standards coverage accuracy. (EdTech Digest, 2023)

How one Middle School transformed planning

At a public middle school in North Carolina, teachers struggled with inconsistent pacing and student achievement gaps in math. Here’s how things improved after implementing a tech-enabled curriculum mapping solution:

Teachers collaborated to map math units for grades 6 to 8.

Weekly planning meetings used maps to guide differentiation.

Data from assessments were fed back into the maps to update strategies.

The above factors had a remarkable impact on both students and teachers. Here’s what happened:

Math scores rose by 17%;

Teachers reported a 42% increase in lesson planning efficiency;

Students who risked falling behind, received tailored support three weeks earlier than in the previous years.

Mapping with Data: Teaching with Precision

Curriculum mapping is no longer a luxury. It’s indispensable in modern day education.

In a world where teachers are asked to do more with less, curriculum mapping puts them back in control. It connects instruction to purpose, planning to progress and strategy to student success. Whether you’re a classroom teacher, school leader or edtech provider, the message is clear:

When we map with intent, we teach with impact. Precision Teaching starts with Edusfere At Edusfere, we help schools and educators and content providers turn curriculum chaos into clarity. Our platform is built for modern curriculum management, empowering you to:

Align your curriculum to standards Design personalized, data-driven lessons Collaborate across teams with ease

Book a demo session to see how Edusfere can simplify curriculum mapping for you and your team.

[lakshay-gaur-sas]

Blog 7: Time Manipulation in Tenet: Cinematography and Reverse Action Sequences [Pushing Limits]

If we are talking about Chirstopher Nolan and we don't talk about TENET we are not doing something right. Alright TENET, one of the most mind boggling movies I have ever watched. There was a quote from one of Chris Nolan's interview when he was asked something around "Why are your movies so difficult to understand?" And he took a pause and replied "Don't understand it, just feel it." And I was blown away somehow. There is so much happening in that movie and so much to take in but nonetheless that journey was one to remember till I die. Alright moving to the main part, the main concept of the movie revolves around "inversion" where objects and people move back through time going adjacent to the normal timeline. In this blog I am gonna talk about Christopher Nolan's direction and Hoyte van Hoytema's cinematography in this blog.

Reverse Action: A Cinematic Feat One of the best things that TENET does well is to show both forward and reverse action in a single shot. It must have required a huge amount of acting and digital technology to be involved with these scenes and Nolan was particularly keen to use as little CGI as possible so as not to alter the mood.

Let's talk about the infamous highway chase scene. There was a genius idea that made that shot possible. The inverted cars were engineered in such a way that the body of the car was driven reverse. Franklin (2020) who worked on the VFX for TENET told that digital effects were primarily used to augment the practical shots ensuring a seamless blend of real and inverted elements.

The Role of Cinematography Hoyte Van Hoytema's cinematography played a crucial role in making the inversion concept visually achievable. The color grading for this film was distinctive and you can somewhat differentiate between forward and inverted timelines. Warm tones dominate forward moving sequences while cooler tones signal inverted actions. Bordwell(2008) highlights the importance of visual cues in guiding audiences through complex narrative and Tenet utilizes these technique effectively to keep viewer oriented.

Sound Design: A Complement to Cinematography While this was initially focused to talk about visuals on TENET but the sound design was chef's kiss. The sound design in Nolan's movies is somewhat complimenting the journey. As Manovich (2001) suggests sound and visuals work in tandem to shape audience perception and Tenet exemplifies this interplay.

Lesson's from Tenet's Time Manipulation For me, every Nolan's movie makes me want to create and conjure something so amazing like he does. I had so many great ideas while watching his films. Tenet does an amazing job playing and manipulating time. That concept is something I am ready to create something about in future.

References: 1. C. Nolan (2020). Tenet: The Shooting Script. Insight Editions. Available at: https://insighteditions.com (Accessed: 12 December 2024). 2. D. Bordwell (2008). Poetics of Cinema. Routledge. Available at: https://www.routledge.com/Poetics-of-Cinema/Bordwell/p/book/9780415977791 (Accessed: 14 December 2024). 3. L. Manovich (2001). The Language of New Media. MIT Press. Available at: https://mitpress.mit.edu/9780262632553/the-language-of-new-media/ (Accessed: 17 December 2024). 4. P. Franklin (2020). “Visual Effects in Tenet.” Cinefex. Available at: https://www.cinefex.com (Accessed: 13 December 2024).

[teamtutmontessori]

How Montessori Differs from Conventional Teaching Approaches

Children who get Montessori teacher training benefit from enhanced social and intellectual abilities. Studies comparing the instruction in public Montessori schools with those in regular schools have previously demonstrated this. Those who take Montessori training courses tend to have a strong sense of justice and fairness. They will undoubtedly engage in various activities with their classmates while maintaining a pleasant attitude.

There are a few more crucial components of the Montessori teacher training course to remember:

Optimal Conditions

Students' individual needs can be met in the classes. While pursuing Montessori teaching courses, all important factors are examined to construct lessons that are focused on the needs of the students. On the other hand, during conventional teacher training, the lesson plans are instructor-centric.

Acquiring Knowledge Actively

Children become passive listeners in the traditional classroom; but, in a Montessori classroom, they become active participants and receive practical experience.

A teacher who has completed Montessori teacher training can assist her pupils in acquiring the knowledge that is required for learning.

A Montessori teacher's role

While there are many topics covered in the Montessori teacher training courses, mentoring youngsters is one of the main ones. Teachers are supposed to have face-to-face discussions with pupils while imparting knowledge. Lessons are taught in traditional schools in a set sequence with no room for individualized learning.

Getting Information

The fact that learning is based on lifetime observation and academic study makes it even more engaging for young learners. This is a crucial point to take into account while creating the newest Montessori teaching techniques. Experts have carried out several research that aids in differentiating between traditional and Montessori teaching approaches.

When kids find the Montessori program interesting, they are more inclined to learn. Because of this, adding some interactive teaching sessions to the Montessori curriculum makes it even more engaging. It makes a significant contribution to the growth of a creative and healthy mind.

[candidobrown]

Assessments as Part of the Lesson Planning Template

Providing literacy program support to diverse K-8 administrators, one of Reading Achievement Partners' foundational offerings is a Lesson Planning Template. Rigorous and standards-aligned, this provides ways of funneling students into the correct grade level material and actively assessing and understanding students' progress toward mastery of materials and coursework.

This is accomplished through designing a Standards-Aligned Assessment. The student-facing assessment provides an in-depth understanding of students' needs, expectations, and abilities at the outset of beginning work within a specific curriculum. At this time, administrators also create a Data Tracker, which is used as a measurement tool for assessing the degree of student mastery relative to what they initially input in the assessment.

As a professional in the field, it's important to take the completed assessment yourself (as if you are a student). Known as a Pre-Mortems, this provides insight into areas the student might find challenging to complete. It also highlights areas that must be addressed in assessment or curriculum design as a way of avoiding having students experience too much struggle. With the assessment properly designed and taking into consideration areas that students tend to find challenging, it's time to complete a backward planning exercise. This involves mapping out strategies for taking students to mastery of areas they find currently challenging.

Among the common issues with assessment planning are engineering questions and measurements that are designed in such a way that the results are not too vague or spread all over the map. Rather, they should deliver evidence that is consistent with curriculum standards, mission, and goals. Any data generated must be viewed in a context appropriate to the curriculum at hand and relate to student skills and abilities that help them meet specific literacy goals and objectives.

Factors such as student background and how this relates to assessment answers are important aspects of interpreting data. They provide insight into what exposure students have to the type of material and content presented in the curriculum. For example, a student who performs poorly on one aspect of the assessment and has no functional background in the course material may have differing needs from one who has been through similar or equivalent course material and still has not attained standards-aligned objectives.

Beyond qualitative measurements of ability, assessments also provide a glimpse into the student's thought process and how these relate to the abilities and skills required to navigate the lessons within the curriculum.

This multifaceted way of designing, using, and interpreting assessment materials is essential to developing and using rigorous and standards-aligned methods of grade-level differentiation. It's also important to determine just who will benefit from the curriculum presented to the greatest extent. In this, look at each student as an individual and the best course for him or her, given the objectives and learning principles in play, as well as the skills required to maintain pace with the group.

Reading Achievement Partners emphasizes that proper placement of differentiation points (where key skills and abilities are determined) and scaffolded questions are essential for designing impactful lesson plans. The latter are question prompts in a progressive sequence that build upon prior knowledge. Assessments thus rigorously ensure that the bar is not lowered when it comes to providing content that is standards-aligned and appropriate for the grade level. This helps ensure greater equity in education, particularly among those who lack access to high-quality work at the appropriate grade level.

[mymusicjournalblog]

How Can You Develop Comprehensive Music Lesson Plans for Elementary Students?

Creating attractive and useful music lesson plans for elementary students require a blend of originality, structured setting up, and a selection of resources. Whether you are increasing simple music lesson plans, general music part plans, or a K-8 music syllabus, having the right apparatus and capital is essential. This direct will discover strategy for music teacher to make dynamic lesson strategy and show up important music classroom resources to improve students' learning experience.

Developing Elementary Music Lesson Plans

Elementary music lesson plans are the base of a winning music teaching program. These plans are supposed to add in a mix up of behavior that connect students and promote a love for music. When mounting lesson strategy for music teachers, it is significant to comprise a selection of instructional methods, such seeing that singing, in concert instruments, listen actions, and group exercises. Tailoring your lesson strategy to get together the developmental stage of simple students makes sure that the content is easy to get to and enjoyable.

Structuring General Music Unit Plans

General music unit plans offer a complete structure for teaching music in excess of an extended period. These plans are supposed to line up with the broader K-8 music curriculum, make sure reliability and evolution in music education. When create general music unit strategy think about incorporate themes that span multiple lessons, such as rhythm, melody, harmony, and music history. This move toward help students build a deeper understanding of musical concepts and foster lasting retention.

Implementing a K-8 Music Curriculum

A well-structured K-8 music prospectus provides a cohesive pathway for music education from kindergarten through eighth grade. This curriculum must outline input learning objectives and competencies for every grade level, make sure a regular sequence of skills and information Music lesson strategy for basic students should align with these objectives, given that age-appropriate satisfied and behavior. A robust K-8 music set of courses incorporate a multiplicity of music genres, educational civilization, and historical contexts, generous students a attractive musical education.

Utilizing Music Classroom Resources

Effective music classroom capital is important for enriching the education experience. This capital is able to consist of musical instruments, audio recordings, image aids, and interactive technology. Music teaching tools, such as lesson plan template, worksheets, and review rubrics, help teachers put in order and transport their lessons successfully. Additionally, having right of entry to a different range of music and multimedia property supports differentiate training and caters to mixed knowledge styles

Incorporating Music Journals in Lessons

A music journal is a precious tool for helping students be a sign of on their learning and track their progress. Encouraging students to preserve a music journal fosters critical thinking and self-assessment skill. In their journal, students are able to document their experiences with special musical activities, write about their preferred pieces, and reproduce on what they have educated. Incorporate music journal addicted to your lesson plans for music teachers be able to improve student appointment and offer insight into their kind and growth.

Crafting Music Lesson Plans for Elementary Students

Crafting music lesson plans for basic students involve opposite fun and instructive activities. These plans ought to be structured to consist of warm-up exercises, core activities, and reflection time. Attractive students with practical activities, such as playing instruments, singing, and creative movement, make the learning process agreeable. Additionally, incorporate storytelling and illustration aids be able to help make clear complex melodic concept in an easy to get to way.

[wvgsvf]

Importance of Preparation and Planning for Teachers

Effective teaching is not just about delivering lessons but about preparing and planning meticulously to ensure every student receives the best educational experience. This article delves into the critical aspects of preparation and planning for teachers, highlighting strategies to optimize classroom effectiveness.

Why Preparation and Planning are Crucial for Teachers

Preparation and planning form the backbone of effective teaching. Teachers who invest time in planning their lessons are more likely to engage their students, manage their classrooms efficiently, and meet educational goals. Here are the main reasons why preparation and planning are essential:

Enhanced Student Engagement: Well-prepared lessons capture students' attention and keep them interested in learning.

Efficient Classroom Management: Planning helps in organizing classroom activities and managing time effectively.

Achieving Learning Objectives: Clear lesson plans ensure that educational goals are met systematically.

Adaptability: Teachers can better adapt to unexpected changes and different learning paces.

Professional Growth: Continuous planning and reflection on teaching methods contribute to a teacher's professional development.

Key Strategies for Effective Teaching

To maximize the impact of their preparation and planning, teachers should consider incorporating the following strategies:

Differentiated Instruction

Differentiated Instruction involves tailoring teaching methods to accommodate different learning styles and abilities.

Individualized Learning Plans: Create customized learning plans based on students' strengths and weaknesses.

Variety of Teaching Methods: Use a mix of instructional strategies, such as visual aids, hands-on activities, and technology integration.

Ongoing Assessment: Regularly assess student progress and adjust instruction accordingly.

Inquiry-Based Learning

Inquiry-Based Learning encourages students to ask questions, explore, and engage in critical thinking.

Stimulate Curiosity: Pose challenging questions and problems that require deep thinking.

Research Projects: Assign research projects that require students to investigate topics in depth.

Facilitate Discussions: Encourage open discussions where students can share their findings and viewpoints.

Cooperative Learning

Cooperative Learning promotes teamwork and communication among students.

Group Activities: Organize group activities that require collaboration and problem-solving.

Peer Teaching: Allow students to teach each other, reinforcing their own understanding.

Role Assignments: Assign specific roles within groups to ensure active participation from all members.

Graphic Organizers

Graphic Organizers help students organize and visualize information.

Concept Maps: Use concept maps to show relationships between ideas.

Venn Diagrams: Employ Venn diagrams to compare and contrast different concepts.

Timelines: Create timelines to help students understand historical events and sequences.

Technology Integration

Integrating technology into the classroom can enhance learning experiences and engagement.

Interactive Tools: Utilize interactive tools like smartboards and educational apps.

Online Resources: Provide access to online resources and digital libraries.

Virtual Classrooms: Implement virtual classrooms for a blended learning approach.

Student Assessment

Regular assessment is crucial for understanding student progress and adjusting teaching methods.

Formative Assessments: Use quizzes, assignments, and informal assessments to gauge understanding.

Summative Assessments: Conduct exams and final projects to evaluate overall learning.

Feedback: Provide timely and constructive feedback to guide student improvement.

Classroom Management

Effective classroom management ensures a conducive learning environment.

Clear Expectations: Set and communicate clear expectations for behavior and academic performance.

Consistent Routines: Establish consistent routines to provide structure.

Positive Reinforcement: Use positive reinforcement to encourage good behavior and academic effort.

Professional Development

Continuous professional development helps teachers stay updated with the latest educational trends and methods.

Workshops and Seminars: Attend workshops and seminars to learn new teaching strategies.

Peer Observations: Observe peers to gain insights into different teaching techniques.

Self-Reflection: Regularly reflect on teaching practices and seek areas for improvement.

For more info...

[ladyfromaspookyforest]

My Unhinged Scott Clarke Theory Post

oKAyyyAYYYYYEYYEYE here we go. In Mr. Clarke's first scene, he's announcing a test to his class. He says:

This will be on the test which will cover chapters 10-12. It will be multiple choice with an essay section.

So naturally, I thought, MULTIPLE CHOICE?? LIKE.....MULTIPLE TIMELINES?? Because I'm slowly losing it. Here's my favorite thing about analyzing Scott Clarke:

The irony. "You're seeing patterns that aren't there. Coincidence." That's probably true, tbh. But I can't get over the fact that Scott is our very first introduction to the concept of an alternate reality. When he gives his flea and acrobat speech, he says:

You’ve been thinking about Hugh Everett’s Many-Worlds Interpretation, haven’t you? Basically, there are parallel universes. Just like our world, but just infinite variations of it.

And then the boys are like "nah nah nah man you misunderstand." But, let's go back to my OG Scott ramble when I talked about how he serves largely to deliver themes and information we'll need to know, often without knowing that we need to know it yet. Did we understand the significance of his brain lesson in that moment? No. So Scott telling us about infinite variations of our world feels important. Because NOTHING Scott says is throwaway knowledge.

And it wouldn't be a post by me without connecting probably unrelated things because they're the same color, so Scott moves between seasons 1 and 3, but here's his first house:

And this is Brenner's house. They both have blue doors and brick steps.

Because I was in the midst of my crazed yellow lamp hunt when I noticed this, I began also keeping an eye out for blue doors because the intro to this episode with Brenner's house has a lot of blue shutters and doors. But it turns out that hypothesis was a flop and blue doors are not a recurring motif. But SCOTT CLARKE HAD ONE. And Brenner had one.

I was writing a lengthy post on everything that seems to connect Scott to HNL, but I feel like aside from the door thing, it's all been said already. So I'll spare you and summarize as:

Scott knows just a few too many things to be natural. His knowledge is convenient as fuck and *suspicious.* I.e. there's no reason for him to know the precise ratio of salt:water to make a sensory deprivation tank off the top of his head. Why did he ask El where she was from the way he asked her ("Where are you from exactly?") with a squinty-eyed, suspicious expression? I also want to tack on this post here by @aemiron-main which is something I myself did not notice, but also links Scott to the lab. The point he makes is that there is an abnormal abundance of extras at HNL who look like Scott.

Additionally, back to Scott's first lines in the show, he says:

Answer 12.3 on the difference between an experiment and other forms of science investigation. This will be on the test.

His first line is not only about multiple choices, but about experimentation and investigation. And if Scott Clarke does one thing in this show, it's set us up for what we're about to witness.

Anyway, back to my doors. There are canonically two versions of Dr. Brenner: Martin and Richard. There are canonically two houses for Mr. Clarke: blue door and brown door. At least one version of Brenner canonically has a blue door. Scott Clarke is canonically related to alternate realities, even if solely because he is the character who introduced them.

Different colors are often used to differentiate realities. For example, the theory that the yellow UD and the blue UD are different dimensions rather than the same dimension in different times. But also in other shows or movies. Take Fringe, for example. They changed the color of their opening credit sequence from blue to red when the episode took place in the alternate dimension and then to orange when a new timeline was introduced.

What I'm getting at is that maybe there is a version of Scott who IS linked to the lab and maybe there's a version who is not. And yes, I went there because of his blue door.

Now allow me to also make you rewatch the phone call between Dustin and Mr. Clarke. I stripped the music from it and it turns out, Scott isn't telling him how to make a sensory deprivation tank at all. They pulled the audio from The Flea and the Acrobat and had it playing in the background so the audience would hear Scott's voice faintly over the phone, but not what he's saying. Listen to it. It makes no sense. It's the same vibe as when Dustin was pretending to be on the phone with someone about Mews in season 2 for his mom's sake.

What? The hell? This is likely a belated addition in the editing room because they decided it sounded odd without any voice coming from the other side and couldn't get Randy Havens to record anything for them at that point. But it's weird. Of all the audio for them to choose, they chose Scott talking about needing a massive amount of energy and opening a tear in time and space. They could have used him talking about anything else. They could have used him talking about the HAM radio, they could have used this same conversation but like a minute earlier. That would have made the most sense because he's literally talking about a sensory deprivation tank. But they chose this. IT'S. WEIRD.

And in that quote from The Flea and the Acrobat, Scott blatantly says a tear in time AND space. Throughout four seasons of the show, we've seen that these tears are possible and that people can in fact travel through them to the Upside Down. But what about time? What about other Spaces? Scott said there could be INFINITE versions of our world, and as I said before, Scott doesn't say anything without a purpose. Whether or not he himself is involved with the lab or with these other timelines, the simple fact that he talked about them feels like enough evidence that they exist for me.

[tempenensis]

Jujutsu Kaisen: Abyss of Math Course - part 1

The title already makes me shiver in fear.

This is the lesson-slash-interview with math professor that Takano-san (T-san) did. Hino-san (H-san) was actually his academic advisor when T-san was in university, while Sonoda-san (S-san) was his senior. This interview will be divided into four parts.

Jujutsu Kaisen have a lot maths?

T: Actually the two of you had checked the formula and wording during Jujutsu Kaisen vol. 14 and 15. Thank you for that!

H: No, no, that’s all because my daughter and son are big fans of Jujutsu Kaisen.

S: Me too. Thanks for letting me read it. It’s very interesting.

T: In Jujutsu Kaisen, “how do they fight under established constraint” is one of the fun of the battle. And due of it, math is considered. Then a question arised, “Akutami-sensei won’t actually explain the math of all jutsushiki, right?”, so I, Grade-2 master of Math, could not compete. This is the reason I thought to call the two of you, Special-grade masters of Math, to give an explanation.

H: I don’t think I can do such huge things (laugh). For example, Todo clapping his hands to swap places, and Awasaka’s ‘Abekobe’ are math, right?

S: Seems like you can express ‘Abekobe’ if you can use logarithm or negative function of differential well (Board 1).

H: As Awasaka said, if “the damage given” is input x and “the damage received” is output y, the larger the x is, then y becomes smaller. In reverse, the smaller the x is, the value of y becomes larger. However, by that definition, the rule is can only be applied in the specific domain. He is someone who has technique with such formula.

T: Actually, when they use cursed technique, you think the users have mathematical equations inside their mind, right?

S: Actually, our work involves modelling, so thinking about the math of a phenomenon is very fun

T: I’m glad you said so! In these 8 pages, we’ll talk a lot with Gojo Satoru in the center!

Board 1: In the specific domain (=the number range of input), monotone decrease function is applied, Awasaka's ability can be turned into a math formula!

Awasaka was the opponent who fought Itadori and Fushiguro. By using his "Abekobe" ability, the damage of strong attack becomes small, caused the two of them to struggle. After they saw through him that weak attack becomes huge damage, he lost to Itadori.

cont'd under the cut.

Complete consideration of Limitless cursed technique: Red, Blue

T: Well then, in the volume 15, I had considered that limitless cursed technique is something like the action of scaling, but I regretted that it might have more serious math. The image that Akutami-sensei hold is like the problem of “Achilles and the Turtle”. But I couldn’t write properly about the number sequence. The two of you have always been more knowledgeable on math than me.

S: In the first place, the techniques that Gojo usually use are three, right?

H: Yes, Cursed technique lapse, “Blue” and Cursed technique reversal, “Red”, and void formula “Purple”. First, let’s try to write the definition and assumption clearly. Describing it first is important after all. I drew it on the table (Board 2).

T: Limitless cursed technique is a cursed technique that uses infinity.

H: That is the engine, right?

S: By using that, “Blue” can attract, “Red” can repel, while “Purple” is the mix of two. Hearing only the words make them seem like a riddle.

H: Isn’t using this description already make sense? This seems like a job for researcher (laugh)

Limitless Cursed technique

He can make infinity in the space between him and his enemy, so the enemy who approaches him feels like they get further. As such, he does not let them touch him.

Approaching near becomes further away = they are stopped.

By applying this he is able to exert the power to attract, which is cursed technique lapse "Blue"

Furthermore, reversing the operation resulting in cursed technique reversal "Red".

Mixing the two resulted in void formula "Purple"

T: Akutami-sensei hold the idea of Achilles and the turtle. The time sequence is counted as infinity so they will never arrive.

H: This assumption is that, if you apply the process to reach, it has no end. Because time is a continuous thing, you can fit it into the frame of infinity, and if you apply that, there’s no end to it.

T: That’s right. If seen from 0.1 second window, one second has 10 frames. If seen from 0.01 second window, 100 frames. But in this case of 0.00000…01 second, if you add more 0 in between, you can increase the number of frames.

S: This, something approaching make it into convergent sequence, so there’s a point after all, to slow them down is the key, right? Saying it simply, if the convergence of convergent sequence can be slowed down, the convergent series of the situation is sorted, right? If you have a different sort of line…then you will get such formula (Board 2). The operation done using this sorting is “Blue”. In this sorting, extreme distance beyond N becomes larger than ɛ.

H: I see. So, it’s “Riemann series theorem”. If the subject (the person who receives jutsushiki) considers to converge the technique, it doesn’t look like convergent series (laugh).

S: Gojo is unpleasant guy (laugh)

T: Is that really a bad guy…

H: As an alternative, it seems fine to use the idea of strengthening the phase. Phase is, saying it simply, an established rule of what will happen if we include the two points in the same open set (group). Weak phase is the circumstance of “Together no matter what. You and me and everyone else are the same”, while strong phase is “Each point is separate, everyone is different.” The phase and distance “belong in the same group” in the assumption for scale. So, in theory, Gojo is able to control the weakness or strength of the phase.

T: This becomes difficult right away, but I’ll sort it a bit. So it seems that Gojo is able to tweak the concept of “near” and “far”. He can tweak the feeling of the enemy who thought “near!”. For example, if they are separated 1000 meters away, he can make them think “he’s near!”. In reverse, he can also control the phase to make the opponent think 1 m as “that’s far!”.

S: In the norm of finite dimensional space, the established phase is each other is equivalent, but for the time being, the details don’t matter. In the infinite dimension, that kind of things happen.

(to part 2)

[libermachinae]

Notes: baby robot

—

“602 RPS. Fuel pressure 124 over 75. Circuits holding—”

“Prowl, come.”

Prowl glanced up from the monitor for just an astrosec. Mesothulas was standing in front of the CR chamber, leaned so close he was nearly touching the casing, well beyond the limits of safety protocols. Even from up here in the observation deck, Prowl could see the way he quivered, fingers flexing as though he really intended to brush them over the freezing pod. He’d spoken without looking away from it, optics fixed on the narrow porthole, its view blocked from Prowl’s gaze by the glare of the lab’s lighting.

When he looked back, RPS had dropped to 598.

“I can observe plenty from up here,” he said, logging the change along with the rest of the readout flashing across his display. The system would do it automatically, but keeping his own logs allowed him to feed the data directly into his risk analysis programs, their last safeguard against any unexpected chain reactions. Reversal and shutdown commands remained queued and at the ready.

“But he can’t see you,” Mesothulas insisted, still with his gaze on the pod. There was a mechanical growl deep within the machine, systems warming to protect them against the coming temperature snap.

“I’ll introduce myself later,” Prowl promised. He had a script prepared, easily integrated into the standard basic function tests he’d plucked from the ruins of Petrex’s last construction center. It would serve to demonstrate the construct’s ability to differentiate itself from other people and recognize when it was being addressed, provided current readings held steady and they actually made it that far. “I need to keep monitoring in case of—”

“In case of what, Prowl? Our design is without flaw. He’s perfect.” Mesothulas did touch the pod then, yanking away and shaking out his hand when the cold bit back. “We’ve already run every test, accounted for every variable. You said yourself, nothing will go wrong.”

“Because I’m up here, making sure it doesn’t.” There was a hiss as the internal ventilations started to draw out the freezing gasses, and a fog appeared over the porthole as moisture in the air responded to the change in temperature. Mesothulas leaned close again, and this time Prowl decided not to bother worrying about it. “I don’t understand why this is an issue. We haven’t installed its datalogging software yet; it won’t remember any of this.”

There was a lot he didn’t understand about Mesothulas, but most of the time that worked to his benefit, their different priorities allowing them to easily collaborate by taking over parts of each project the other had no interest in. It was rare for them to clash, and if it caused him to add a few extra lines to his spreadsheets as he accelerated his tracking speed, the construct certainly wouldn’t suffer for it.

“He, Prowl. He has his own spark.”

And going by the standards Prowl had grown up with, that put it in the animate category, a step above mechanized but not yet in the autonomous phase that signified life. But that was for spliced sparks, borrowed identities who only became individuals once introduced to a unique processor sequence. He and Mesothulas had gone back and forth on what this meant for the construct, whose spark had been struck from as close to nothing as one could, and Prowl was smart enough to know it was not a discussion worth bringing up now.

“And it’s important because we’re not just introducing ourselves: we’re introducing the entire universe to him. We’re his first impression of everything. I’m not letting you waste that opportunity.”

There was a hiccup in Prowl’s momentum as Mesothulas’ sentiments caused his processor to pick up a memory. Its low priority weighed against the negligible file size meant that despite considering deleting it as it lost relevance with each new change to his life, he’d kept it buried in his archive. The auditory component had become uncoupled during one of his early processor crashes, so all he had left was the visual, grainy with the degradation of multiple transfers and processor upgrades. The file played and his optical feed came online to two Cybertronians, one standing back with a datapad while the other stood closer, his optics fixed on Prowl. They were both talking, but Prowl hadn’t bothered to watch their lips: all his focus had been on their plating, his first thoughts a string of hexidecimal codes as he tried to track all the ways their paint reacted to light and shadow.

It was not a long memory. He’d dropped offline almost immediately, having overwhelmed his processor before his temperature controls had finished booting up, and after that he’d had a specialist team to finish his construction. Though he’d had access to the database, he’d never bothered to go looking up the names of the first two bots he’d seen. Their role in his life had been all but inconsequential, compared to the engineers who spent decacycles making sure his spark and frame could maintain the advanced tactical suite he’d been built for.

“I’ll make sure the construct functions long enough to see any of it,” he said, returning his focus to the monitors. 608 RPS.

He thought he caught a glint of yellow from where Mesothulas stood.

“P—”

“Vacuum seal releasing.”

There was a louder hiss as a plume of white mist escaped the seams of the pod door. Mesothulas jumped away from it, then moved back in as soon as it had dissipated, hands up like he wanted to help the door along as it pushed out and then slid aside on a silent track. More mist spilled out, blanketing the floor around Mesothulas’ pedes, but it was hard to tell whether his slight hop step was from pain or eagerness.

“Surge guards holding,” Prowl reported. “Autonomics steady. Entering second stage bootup.”

Mesothulas gasped and Prowl looked up, concerned, but found himself just as startled. Bioillumination was a hallmark of stage two and not in itself surprising. Even the brilliant intensity, light stretching beyond the confines of the pod, was to be expected, given that they hadn’t installed any code to regulate it yet. Mesothulas just hadn’t told him the optics would be blue.

“Sys-systems disconnecting from external fuel supply,” he stammered, feeling a rush of embarrassment before he composed himself. “Fuel pressure 121 over 74.”

Mesothulas made no indication he heard, and a moment later Prowl realized he wasn’t listening at all: he was talking to the construct, his voice a low murmur Prowl couldn’t hear from his place on the observation deck.

“Entering third stage. Somatic systems coming online.”

The construct turned to look at Mesothulas. Even turned away, Prowl somehow knew the scientist was beaming, his lesson from earlier the only thing keeping him from reaching into the pod and wrapping himself around his creation like he was wont to do with Prowl.

And then Mesothulas stepped back and to the side, pointing up at the platform still without his optics leaving the construct.

“And that’s Prowl,” he said, finally loud enough for his voice to carry. “He’s worked just as hard.”

Those blue optics turned to him. Prowl knew it was only the most basic coding compelling the construct to follow the movement of Mesothulas’ finger, its bare processor unable to even register him as a separate element from his environment, let alone a fellow Cybertronian. But there was something about being caught in that gaze, watching the lenses attempt to focus when there wasn’t enough data yet to tell them what to focus on, that caused him to raise his hand in an uncertain wave.

“You’ll get the chance to meet him later, I promise,” Mesothulas said, drawing the construct’s attention back to him. “Ostaros, we have so much more to show you. You can’t imagine.”

It couldn’t, Prowl mused, watching Mesothulas attempt to link his fingers with those of his creation and pulling away with a hiss at the subsequent reminder. But this period of emptiness would not last forever. Like the science that had formed its impossible spark, the construct—Ostaros—would come into being, something pulled from nothing, a person just as much as himself or Mesothulas. Prowl would introduce himself then, to whoever it was that Ostaros became.

[benchowmein]

just watched the first hobbit movie and

by god they really thought people wanted an extended 10 minute framing sequence so we could see frodo instead of, like, a depiction of bilbo’s everyday life as a young hobbit, and of the shire generally

bilbo is played so weirdly (there’s that bit where gollum says he’ll eat him and martin freeman was like oh okay i’ll react like i’m in the office) and like 90% of that could’ve been solved if they’d just hired someone who could play bilbo better. stuntcasting just because sherlock was big at the time doesn’t mean much when you’re adapting one of the best selling novels of all time and also one of the most successful film trilogies of all time a decade ago

if we got to see some of bilbo’s normal life instead of the weird opening sequence that would make characterising bilbo as being pulled between bagginsian and tookish tendencies a lot easier, and that’s important for many reasons, the biggest one of all being that the plot doesn’t work if bilbo is characterised as standoffish and uneager to please anybody when that’s like his driving motive in the book

also the first like half an hour of this movie effectively takes place in the interior of bag-end, some shots of the shire would also have differentiated that. also bilbo’s skin looks weirdly yellow idk if it’s my tv screen or his clothes not suiting martin freeman or the makeup but that definitely isn’t his usual skin tone

the comedy from the book is leeched out in favour of like...jokes about burping and snot...and like LOTR wasn’t popular with preteen boys because of the toilet humour lol just make jokes that stand up by themselves

the misty mountains song was gooood but idk i never thought of the dwarves like they are in the film AT ALL. also i get WHY they showed us flashbacks of erebor falling to smaug (and erebor pre-smaug) but if they were going to make it exposition i don’t know why they couldn’t make it be an opening narration done by a dwarf. i guess they didn’t want it to be too similar to galadriel but i mean they also randomly inserted her into the film for no reason so

for god’s sake the trolls are obviously meant to be west country, not cockney, if you’re going to be classist at least represent more than one accent

the overindulgence in epic fight scenes is why this film is 3 hours long. every scene is three times longer than it should be. i guess the general criticism is that the hobbit is a children’s book and they’re trying to make it like lotr but still...the action sequences still don’t hold up! arwen taking frodo to rivendell is genuinely a wonderful scene rich with action and with high stakes, as is frodo and the boys outrunning the wraith, and they’re just chase scenes! don’t bother if they don’t hold up by themselves is what i’m saying

can i just say that the grass in this movie was way too green...like everything looks so fake and fantasy compared with lotr and i am certain the weird frame rate has something to do with that...

also the extended flashback to the battle outside moria...not good...like how many battle sequences do we neeeeeed

richard armitage looks so weird as thorin and WHY IS HIS BEARD SO CLOSE! big bushy beards are so obviously a sign of strength for dwarves (they even have a “may your beards never grow thin” line in the book) so why does thorin, a character who is ostensibly image-conscious and proud, trim his????

radagast was weird and that’s coming from someone who stans radagast from the pithy little tolkien wrote about him. also the bit where he sees sauron is stupid as is the fact that he cares about this one hedgehog when the foxes and birds are also dying like i get it but whatever. also the daughters of ungoliant are weird and idk why they’re there tbqph

thunder battle!

the great goblin is the worst character in this whole film and idk why they had him sing a song that wasn’t in the book (i’m pretty sure) when there are lots of good songs to pick from.  sorry you don’t want this film to be seen as low-brow so you won’t have the wargs speak or sing but you WILL have this goblin sing in falsetto about killing dwarves? get over it also why is he so BIG

the gollum bit was really good especially the bit where bilbo is going to kill him! i also like how gollum has his little pocket but if you want you can imagine he is wearing the ring on his dick

the escape from the goblin caves is a bit trashy but also fine i guess...its like a weak lotr scene but in the hobbit that’s wonderful to me. if they make a lotr theme park i have no doubt that would be in it (though moria is the more obvious choice)

the ending was sooo drawn out and i am concerned that the next film will just retcon thorin’s apology to bilbo for being mean, and obviously his final downfall is a direct result of his greed and avarice so he’s just going to immediately forget the lesson learned when he tried to kill azog

why is azog here honestly and why does he have symmetrical scars like he’s been whipped or something idk idc lol

oh boy the gold in the final smaug bit looks fake...i guess that’s because obviously that much gold will never look REAL to us without it actually being real or whatever...but could they not have desaturated it or something...

apparently desolation of smaug is better but i am...aware that the battle of the five armies will be awful because honestly how can you possibly turn like 5 pages of book into 3 hours of film

[learnwithmasterminds]

GCSE Science Revision Courses

LEARN WITH MASTERMINDS

“A teacher’s Cry”

“A bumpy road”

Here I am, in a position to transfer my passion, knowledge and skills in science to the younger generation. Working at a school could not be better where I have the opportunity to interact with children and make a difference. However, as I take the journey of becoming an “expert teacher” progress slows due to a few bumpy roads.

Bumpy road one…..packed class sizes, a teacher to student ratio of 1:30. There is no doubt that in every class variation in abilities exist. A powerful tool to tackle these variations lies with a teacher’s ability to plan effective lessons. During the first year of my Teacher training, I have participated in small group interventions. It was evident, that varying abilities even existed within higher ability groups. Observing colleagues, being reflective on my own teaching practice, engaging in weekly readings and Continuing Professional Development (CPD) sessions have enhanced my teaching practice and pedagogy. This leads to improvements when dealing with differences in abilities. Crowley et al., 2018 stated in “The Ultimate Guide to Differentiation” that there are a variety of factors that affect how children learn and should be taken into consideration when lesson planning. Some examples are pupils’ special educational needs (SEN), differences in abilities, speaking English as an additional language (EAL students), physical disabilities, age group and the level of prior knowledge, motivation and concentration. The scariest question I ask myself frequently as a teacher is whether the needs of all my pupils being met. Even though there is room for improvements within the other teaching standards, I can honestly admit that I have found teaching standard five the most challenging. In accordance with teaching standard five, teachers should use a variety of differentiated approaches to adapt to learning for varying abilities. A teacher’s awareness of the factors that can inhibit a pupil’s learning can be combat by keeping up to date with recent research, applying new strategies within the classroom and critically evaluating and reflecting on strategies trialled. It is also vital to have an understanding of how pupils learn throughout their stages of development. All of our Mastermind programs are based on a teacher-student ratio of 1:10. Lessons are planned before delivery to cater for varying abilities. Revision courses are also based on examiners reports; a report produced yearly that concludes all the topics and skills of difficulty faced by the students that took the actual exams that year. Our small class sizes also come in handy for our live online-required laboratory experiments that are tested on the actual exams. These experiments are explained in detailed so that students obtain rich knowledge on scientific concepts.

Bumpy road two……..” The best place for students to learn is at school with their peers”. A study showed that most children hate school. In a way, I do agree with the children’s feeling. Put yourself in their shoes. How would you feel in you were sat in a classroom and being taught to pass an exam rather than having the opportunity to do other “fun stuff”? One of the factors mentioned earlier, that could inhibit a pupil’s ability to learn is lack of motivation (Crowley, 2018).  It is not surprising that some students struggle terribly with academics. Some schools do not cater for non- academic students; I strongly believe that due to the lack of choices, some students become disengaged. For example, some students may be interested in more “Hands-on” courses such as hair and beauty, sewing or carpentry.  Claxton et al., 2008 states that children do not like school due to a rather boring curriculum. The study concluded that teachers felt that schools were more about passing examination results rather than teaching life skills that aid students in their transformation into adulthood. Some of the subjects that teachers thought would be beneficial to the curriculum were global awareness, human rights and managing risks. In addition, Teachers also thought that the following courses would make difference ethics, body awareness, resilience, and relaxation. A study “Draw a teacher” in Finland consisted of 428 fifteen-year-old students and 134 of their teachers. The study concluded that both teachers and students agreed with the values that an ideal teacher should possess. Some of the frequent ideals included honesty, forgiveness, loyalty, broadmindedness, equality and world at peace (Ellis, 2013). Children view teachers as role models; expectations should be set and maintained through consistency. Children will follow suit resulting in successful lesson outcomes. Masterminds courses do not only focus on academics, but we also conduct a lot of fun and engaging activities that focus on transferable skills. Report cards are sent home to parents three times a year that focuses on both academics and transferable skills. Parents also have the opportunity to attend face-to-face online meetings to discuss pupil’s progress. Our expectations are high for all our students and we act as positive role models so that children can follow suit.

Bumpy Road three……. Here at Learn with Masterminds we want to push our students but at the right level! Schools are singing the same song in a teacher’s ear. The kids need a challenge! The kids need a challenge! Can challenge always be seen as good? The level of challenge can inhibit pupils’ learning. Author Cowley S. could not have stated it better in the author’s “Top ten teaching tips”. It is important to be ��flexible” and know how to “strike a balance”. If the content is too simple or difficult this may allow students to become off task or disengage completely from the lesson (Cowley, 2013). Vygotsky states that social interaction is the key to learning. This is because people learn through the experiences of others. Vygotsky stated that people learn from MKO (Most Knowledgeable Others) in a Zone of Proximal Development. The Zone of Proximal Development is an area where learning takes place with the help of an MKO. The Zone of Proximal Development is an aspect of scaffolding and can be best achieved by assessing a student’s prior knowledge, encouraging group work, allowing an MKO to lead the group, breaking down complex information into simpler forms and introducing the challenge to stretch an individual out of their comfort zone. Scaffolding a building provides it with structure, as the building progresses the scaffolds are removed. Scaffolding techniques can be used through modelling to explain a task thoroughly; students -teacher interactions can be used to boost practice. As the student's practice increases, the level of teacher support should decrease gradually. As the level of challenge increases, the level of competency also increases within an individual’s zone of proximal development. If the work is too difficult, students can become disengaged and if the work is too easy, students could become bored, increasing behavioural problems (Bates, 2019). Learn with Mastermind courses are strongly based on Vygotsky’s theory of learning and Rosenshine’s ten principles on instruction with aspects of the challenge being pitched at the right level.

Bumpy road four… The school curriculum seems separate but we should bring maths, geography into science, English into science. All these subjects should be taught in a way that shows students a linkage. However, for some reason students perceive all these subjects as different. For example in biology students are taught Ecology, this is a brilliant time to talk about global warming which should have been learned in geography! Learn with masterminds Implements Maths and English into science! These workshops aid to enhance graphing, data analysis, grammar and punctuation skills. Why should English and Mathematics be implemented across science? In 2007, 44% of students obtained a baseline pass in GCSEs (Minimum of five GCSEs including Mathematics and English). Around 350,000 teenagers struggle with Mathematics and English (Claxton, 2008). During a CPD session, I have learned that in Britain 1 in 20 adults have a reading age of five years old and about 28% of adults have a literacy level of 1 or below (grades D-G).

Bumping road five… When schools refuse to stretch the pounds. Carpel, Leask and Younie, 2019 states that there are two types of motivation. Motivation can be intrinsic; this occurs when students engage with an activity for their own sense of pleasure. Motivation can also be extrinsic; this occurs when students are engaging with an activity to obtain for example a prize. It worries me, that some schools have no homework policy. I had recently issued a piece of homework during a sequence of learning. About 20% of class completed the homework and were given positive points for their efforts. There is absolutely no consequence for the students that never bothered to complete the homework. It is a culture shock for me to see that student’s books are left at the back of classrooms, students being reluctant to complete homework and participate with independent learning. What are we teaching our kids for University level of study? I teach my year 11 class, three times over two weeks. It is not enough time to master a concept fully. The practice is required outside of school to allow for a mastery. Once a task is repeated numerous times, your brain stores the information and tasks become automatic (Willingham, 2009). Are summative exams good or bad? Looking at the positive end, good grades on a test can increase a pupil’s level of motivation. This success builds confidence and sparks a student to achieve more (Carpel, Leask and Younie, 2019).Assessments can affect a student’s level of performance and self-esteem. There are three main issues surrounding assessments. Firstly, assessments are inconsistence, are not shared or evaluated among teaching staff. How can we tell if pupils are being tested on what they need to know? Secondly, the majority of the times grades are given only rather than written advice that will allow a student to address misconceptions. Grades only feedback is unfocused and lacks the ability to amend gaps in knowledge. Research has shown that issuing grades only after a test can defeat the purpose of the feedback process. Thirdly, predictions are made on a teacher’s own set of grades; the previous years are not taken into consideration. Some teachers are incompetent and are unaware of the teaching needs of pupils (Black and William 2006). Weekly homework forms a part of our Masterminds courses to allow for practice, mastering and time for students to respond to feedback. Both grades and written improvements are given and students are required to act on these. Good grades, attitude and punctuality can increase a student’s chance of obtaining a £25 student of the month gift card! Should we have standardised exams or summative assessments? I truly believe that testing a student based on grades only is not the most effective strategy. We need to allow the students to release their creativity to form their inner self. What exactly is the purpose of education? We are moulding young people to become well-rounded individuals. Young people must be tested on transferable skills for example teamwork, communication or public speaking. I think that a student’s final grade should be a mixture of both coursework and exams. Coursework assignments are a useful tool for assessing a student’s ability as anxiety is reduced. In addition, the new generation is focused on technological improvements for example smartphones and tablets. These create “noise” and takes away from the “thought process”. The curriculum should shift from an exam perspective to life skills or Mindfulness. “Mindfulness” is important for the brain’s relaxation; technologies create noise and “loss of thought” resulting in a “loss of creativity” (Stephen and Warwick 2015).

Becoming less Bumpy 6…………….. Learn with Masterminds is an online tutoring business providing services to GCSE students. The business main goal is to support students outside the classroom due to the demands within a classroom. We did not open this business to exploit parents. We opened a business because we care! Hence, our prices are the cheapest compared to other businesses in the Kent area. What are you waiting for? Why not check out our website at www.learnwithmasterminds.com follow us on Facebook. Instagram and Twitter!

[p-and-p-admin]

Writers’ Weekends Lesson 2.

Welcome to the second class in our Writers’ Weekends series.

Lesson 2. Plot Beats

What do we mean when we talk about story structure?

A story is a complex thing comprised of many interconnected parts. To turn those pieces into a narrative, some sort of organising principle must be imposed by the author.  The result of the organising of the material is the story structure.

Certain structural markers are obvious to the audience, such as chapters in novels. Elizabethan plays are typically divided into five acts. A film script is broken down into acts, sequences, and scenes.

The beat is the smallest unit of story, below the scene in the structural hierarchy. It is the space between an action and the reaction it causes within a scene.

Beat

Scene

Sequence

Act

Story

 Scenes and acts are defined in screenplays, like chapters in novels. But stories have structures that are not usually made obvious or explicit.

This lesson’s focus is on setting out the bare bones you are going to going to hang the flesh of the story on. For the purposes of this lesson, I will be talking about stories that follow a three-act structure.

In screenwriting, it is often called “beating out” the story because you are making sure your story hits the key beats in a three-act structure required to be psychologically satisfying to your audience. The beats have various names depending on which text you read (looking at you “Save the cat”) but ultimately it doesn’t matter what you call them - so long as they are there!  

The key beats you should have for a story to feel complete are:

1. Opening image and The Set-up.

In screenwriting, we always like to have a super-strong “opening image” that sticks in the mind and looks great in the trailer, but in terms of fanfic, I say it is important to weave a really vivid image into that first chapter so it sticks in the mind of the reader - enough so they will click into the next chapter, or hit follow.  It is often an image that relates to the tone of the story and might provide a “snapshot” of the problem the protagonist will face once the adventure begins.

The other part of this beat is The Set-Up (sometimes called “The world at rest”), and it establishes for the reader the general world and situation of the protagonist before the events of the story enact change. This beat will often (but not always) include some iteration of the story’s central theme to the protagonist, who as yet unchanged by the coming story does not understand or accept it.  

2. Inciting incident or Catalyst

The moment where life as it is changes. This is the point in your piece where the events of the story begin to change for your protagonist. It is the visit from Hagrid saying “you’re a wizard Harry”, It is allowing the killer into the house to use the phone, or meeting the true love of your life or discovering the body of a missing person etc. The “before” world is no more, change is underway.

3. First act turning point and Break into Two.

Some people separate these as two distinct beats and you are more than welcome to do that if it makes your planning easier. I tend to find in my writing the first feeds pretty naturally into the second so I tend to beat them together.

The first act turning point is the beat in which your protagonist debates which way to go in reaction to the inciting incident. It is the moment for the protagonist to choose a course of action the consequences of which will play out through the rest of the tale.

For example, if the inciting incident was the bombing of Pearl Harbour the turning point might be the protagonist debating whether or not to enlist in the army and leave their family or not.   

The Break into Two (meaning Act Two) is when having made the choice we see it go into motion.

So again using the above example, having decided to enlist, the protagonist says goodbye to his family and leaves for Boot Camp. It is where the protagonist leaves behind the world of The Set-up and enters the unknown world of Act Two.

4. Subplot and B story

This beat is not always included as key, but I like to use it as a check-in point for myself.

A common complaint about subplots - especially romantic subplots - is that they feel shoe-horned in or tacked on.  This is because they are too often added without thought for how they prove (or disprove) your premise (see lesson 1.) Every scene, every sentence, every bit of dialogue should serve to illustrate the premise of your tale.  It is a common error to write the romantic elements as a completely unrelated thread to the main thrust of the plot.

To avoid that, I use this beat as a palate cleanser. It gives your reader a moment to switch gears between the world of the first act and the coming onslaught of action in Act Two. 

It often manifests as a discussion which features the theme of the story – the central nugget of truth. Usually, this discussion is between the main character and the love interest. It is often the moment you look back on in a movie or series as “the moment” the two characters begin to see one another differently or even start to fall in love.  Obviously, it need not have romantic connotations. Say if your premise is about family bonds, this moment might be a reunion of a father and son through shared labour building a fence etc. but its purpose is the same.

5. The Plot in Motion. (Sometimes called The promise of the premise)

This is where you get into the meaty, juicy part of your plot! Fun! It is where your detective will find the most clues or your action hero will dodge the most bullets. The protagonist is fully engaged with the changing world and the audience will be entertained by the events the protagonist encounters so long as they deliver on the premise.

6. Midpoint

The middle point of any story is (almost always) one of two extremes.

Everything is “great” or everything is “awful”.

The main character either gets everything they think they want (“great”) or doesn’t get what they think they want at all (“awful”). But not everything we think we want is what we actually need in the end. (E.g. The heroine wants the promotion overseas, it isn’t until she has it she realises what she needs is the support of her small hometown community and the love of the boy next door.)

Generally, the tone of your intended ending will indicate which option you are looking for here. If you are writing a romantic comedy with a happy ending, for example, this is the moment your heroine has a fight with her date, goes back to the office and due to her upset, blows her presentation to the Boss and then goes home to find her beloved dog has gotten out of the yard and run away. The remainder of the story is the climb back.  However, if you are writing a tragedy this is the moment when victory is so close and everything is wine and roses and the remainder of the story is the protagonist’s fall into darkness.

7. Second Act Turning point.

The forces of the villain and/or antagonist begins to be brought to bear. Physical and emotional obstacles appear to defeat the main character’s goal, and the main character’s “great”/“awful” situation disintegrates. They face a second choice in course of action, the consequences of which have high stakes and drive the story forward into the final act.

8. Break into Three

Thanks to a fresh idea, new inspiration, or last-minute Thematic advice from the B Story (usually the love interest), the main character chooses to try again. 

9. Climax or Finale

The villain and protagonist meet head-on (figuratively or literally depending on genre). This time around, the main character incorporates the lessons they have learned throughout the story. Having gained insight and strength from discovering the truth of the premise their fight for the goal is a more even and winnable fight because they have experience from the main plot and context from the subplot

10. The New World (Sometimes called Epilogue State) and Final Image. 

This is the symmetrical beat which opposes where we began. It shows the world and the protagonist in their new state of normal, changed by the events of the story. It does not need to be a literal epilogue it can just be the closing paragraphs of a tale which gives the audience a sense of the future that awaits our protagonist and cast of characters. It closes the loop of your story and creates a sense of balance and continuity.

The final image is your last chance to leave something imprinted on the mind of your audience.

It’s Thelma and Louise driving off the edge of the cliff or the “What’s in the box?” ending of Se7en. 

It is a well-accepted truth of screenwriting that audiences go away remembering the first few minutes of a film and the final few minutes of a film and that those “hooks” are what they tell other potential viewers about.  I think this is similar to the way people discuss fanfic - you can’t necessarily differentiate by characters so saying “The one where Hermione hits Bellatrix with a blood-boiling hex” etc. is common. Giving your audience a couple of memorable images will help with expanding the ability of people to find your work when it is recommended.

SUGGESTED TASKS FOR LESSON TWO.

Write a sentence or two for each of the key beats of your story.

Be firm with yourself, don’t try and cram in too much plot. This is just a signpost for each KEY beat. We don’t need every bit of plot or story yet.  

[katherinepabilo]

Getting Your Research Project Started – General Anxiety Disorder and Substances Use

The data set I chose to study was that of NESARC (U.S. National Epidemiological Survey on Alcohol and Related Conditions).

Research Question: I chose to study the association between general anxiety disorder and substance use (alcohol, drugs, or medicines). I am not currently sure which of the substances available within the NESARC surveys I will analyze.

Hypothesis: General anxiety disorder and substance use are strongly related. Since, the general anxiety disorder condition can lead to the use of substances, either as a treatment method or to alleviate adverse effects or symptoms. Another possible hypothesis would be that there are substances that alter brain functions, which can lead to a state of stress that triggers general anxiety disorders.

There is an extensive literature that explains the relationship between anxiety disorders and the use of multiple substances. Based on this literature, I developed the hypothesis for this investigation. I will present below some of my findings:

Prevalence and Co-occurrence of Substance Use Disorders and Independent Mood and Anxiety Disorders - Results from the National Epidemiologic Survey on Alcohol and Related Conditions

Substance use disorders and mood and anxiety disorders that develop independently of intoxication and withdrawal are among the most common psychiatric disorders in the United States. The associations between most substance use disorders, and independent mood and anxiety disorders were overwhelmingly positive and significant, suggesting that treatment for comorbid mood or anxiety disorder should not be discontinued to the people with substance use disorders.

Furthermore, national epidemiological surveys and numerous clinical studies consistently indicate that substance use disorders and mood and anxiety disorders have strong associations when considered for life.

Co-occurrence of substance use disorders and mood and anxiety disorders.

All independent mood and anxiety disorders were strongly and consistently associated with alcohol and drug use disorders. Any drug abuse was also significantly related to all independent anxiety and mood disorders. All independent anxiety and mood disorders were consistently more related to drug and alcohol dependence than drug abuse.

Prevalence of substance use disorders among respondents with mood or anxiety disorders

Among respondents with any 12-month anxiety disorder, 14.96% had at least 1 substance use disorder.

Respondents with panic disorder with agoraphobia and generalized anxiety disorder were more likely than those with other mood and anxiety disorders to have a substance use disorder.

More importantly, this study also showed that some individuals in the general population experienced anxiety disorders (50,980 American adults) that were only substance-induced. Approximately 15% of individuals with at least one 12-month independent anxiety disorder had a substance use disorder.

However, the nature of the current or recent simultaneous occurrence of substance and mood disorders or anxiety remains largely unexamined and poorly understood.

One factor that has persistently impeded a better understanding of the relationship between substance use disorders and mood and anxiety disorders is diagnosis. Diagnosis of current mood or anxiety disorders among active substance users is complicated by the fact that many symptoms of alcohol and other substance intoxication and withdrawal resemble symptoms of mood and anxiety disorders. The challenge among people with current substance use disorders has been to design diagnostic criteria and measurement techniques that differentiate between symptoms of intoxication and withdrawal and symptoms of psychiatric disorders.

The distinction between independent and substance-induced disorders in the studies is problematic in several ways. First, retrospective reports of chronological sequences that occur many years before may be inaccurate. Second, basing the distinction on substance use disorders rather than periods of substance use leaves open the possibility of independent psychiatric disorders occurring during periods of undiagnosable substance use. Third, the clinical assessment methods in these studies did not determine independent mood and anxiety disorder episodes that begin during periods of alcohol or drug use and persist more than 1 month after discontinuation of use.

 Associations of Social Phobia and General Anxiety with Alcohol and Drug Use in A Community Sample of Adolescents.

Anxiety disorders have been found to be repeatedly associated with alcohol abuse and substance use disorders. Longitudinal studies suggest that anxiety disorders generally precede substance use problems.

Self-medication theory suggests that alcohol and other substances can be used to alleviate anxiety symptoms. An alternative order of progression can be explained using substances that alter brain functions, making them more vulnerable to stress, thereby creating a state of anxiety. The order of progression, therefore, is not yet fully understood.

According to the Diagnostic and Statistical Manual on Mental Disorders, 4th Edition (DSM-IV), seven types of anxiety disorders can be distinguished in children and adolescents. Of these, among the most clinically important are social phobia and generalized anxiety disorder. Generalized anxiety disorder is characterized by disproportionate, uncontrollable, and often irrational concern about everyday affairs. Due to differences in symptomatology, specific types of anxiety disorders may have different types of associations with substance use. General anxiety can, for example, lead to self-medication with alcohol.

  The present study is part of an ongoing prospective follow-up study entitled 'Adolescent Mental Health Cohort Study'. Ninth-grade students (ages 15-16) from all Finnish-speaking high schools in two Finnish cities, Tampere (200,000 inhabitants) and Vantaa (180,000 inhabitants), completed a person-identifiable questionnaire during a school lesson supervised by a teacher.

 General anxiety

General anxiety was measured by a single question that focused on the cognitive aspect of being anxious.

Respondents were asked to rate the alternative that best describes them today: "I don't easily lose my nerve or get anxious" (= 0) / "I don't feel anxious or nervous" (= 0); 'I get anxious and nervous quite easily' (= 1); "I get anxious, or nervous very easily" (= 2); "I am constantly anxious and nervous, my nerves are always on the edge" (= 3). The measure has been used in previous studies of large community samples of adolescents. As in previous studies, scores of 2 to 3 were taken as symptoms of significant anxiety.

General anxiety was associated with a higher incidence of frequent use of alcohol and cannabis when controlling for sex, family structure, and parents' educational levels, and even when controlling for depression further. Frequent use of alcohol, frequent drunkenness, and cannabis use were not associated with the incidence of either type of anxiety.

 Conclusions

Studying the progression order of anxiety and substance use among Finnish middle-aged adolescents revealed that anxiety preceded substance use while no reciprocal associations were observed. Overall, symptoms of general anxiety raised the incidence of substance use. Both anxiety and substance use showed significant continuity at a 2-year follow-up. Comorbid general anxiety increased persistence of frequent alcohol consumption. Continued frequent drunkenness and cannabis use were not affected by comorbid anxiety.

While, therefore, it may be theoretically possible to conclude that primary anxiety caused secondary alcohol consumption.

In the present study, general anxiety and social phobia symptoms were not affected by previous cannabis use.

Consistent with previous findings, all types of substance use and anxiety showed substantial persistence or recurrence at the 2-year follow-up.

General anxiety in middle adolescence puts adolescents at risk for simultaneous and subsequent substance use. However, the risk may be associated with comorbid depression.

   Cannabis and anxiety: a critical review of the evidence

Frequent cannabis users have a high prevalence of anxiety disorders, and patients with anxiety disorders have relatively high rates of cannabis use. However, it is not clear whether cannabis use increases the risk of developing lasting anxiety disorders. Many hypotheses have been proposed to explain these relationships, including neurobiological, environmental, and social influences.

 Integrated psychological treatment for substance use and co-morbid anxiety or depression vs. treatment for substance use alone. A systematic review of the published literatura.

The prevalence of other psychiatric diagnoses among those with substance-related disorders is remarkable. Community anxiety disorders in the United States can be diagnosed in about 25% of alcohol dependent people and 43% of drug dependent people.

All patients in the sample had substance use disorders. Only adults included in the study. The patients in the sample had been selected for depressive or anxiety symptoms or a diagnosis of depression or anxiety. The study compared an integrated non-somatic treatment for both substance use disorders and depression or anxiety with a treatment program focused solely on substance use disorder.

 Bibliographic Information.

Bridget F. Grant, PhD, PhD; Frederick S. Stinson, PhD; Deborah A. Dawson, PhD; et al. (August 2004). Prevalence and Co-occurrence of Substance Use Disorders and Independent Mood and Anxiety Disorders - Results from the National Epidemiologic Survey on Alcohol and Related Conditions

Sari Fröjd, Klaus Ranta, Riittakerttu Kaltiala-Heino, Mauri Marttunen. (January 2011). Associations of Social Phobia and General Anxiety with Alcohol and Drug Use in A Community Sample of Adolescents.

José Alexandre Crippa Antonio Waldo Zuardi Rocio Martín ‐ Santos Sagnik Bhattacharyya Zerrin Atakan Philip McGuire Paolo Fusar-Poli. (Agosto de 2009). Cannabis and anxiety: a critical review of the evidence.

Morten Hesse. (Febrero 2009). Integrated psychological treatment for substance use and co-morbid anxiety or depression vs. treatment for substance use alone. A systematic review of the published literatura.

[katsukiyuuri-nikiforov]

Miscommunications in the Margin of Language

AO3 here

It takes Yuri all of 72 hours to realize other-Yuri speaks Russian.

It isn’t something that’s hard to figure out.

Of course, other-Yuri isn’t obvious about it. He never speaks it- though, if Yuri had to guess he’d say the pig is probably perfectly capable- and he doesn’t participate in the conversations between Viktor and him, never even going as far as to nod in the appropriate places. But he listens, and sometimes Viktor will give Yuri a correction, and other-Yuri follows the order without a second thought, straightening an arm, or standing up taller, even though he’s all the way across the rink.

And he listens to the conversations with a detached ear, occasionally letting out quiet huffs of laughter at some of Viktor’s more ridiculous turns of phrase. He just sits and listens, even as he appears to be doing something else; stretching or bandaging his feet before tying skates, or even just brushing Makkachin. Yuri knows from experience that listening to a language you don’t understand for that long can be trying; music is your best friend is foreign countries.

And when Hiroko mentions that other-Yuri studied languages and linguistics, well, it suddenly clicks into place, confirms what Yuri is pretty sure he’s known since the first day.

He doesn’t think much of it. Takes stock of the knowledge, adjusts his conversations with Viktor accordingly, privately acknowledges that other-Yuri is clearly very intelligent (Not only does he know three languages, but three completely different alphabets too. Yuri is fairly certain he wouldn’t have graduated without at least passing literate comprehensibility in his chosen languages (it doesn’t surprise Yuri in the least that he chose Russian) ) and moves on.

~

Yuri anticipates other-Yuri’s arrival is Russia with trepidation and excitement, in that order, not that he’d ever admit that out loud.

He’s found that Yuri is far better company than Viktor, quiet and supportive and caring in a way that doesn’t make Yuri feel like he’s being suffocated.

So when Viktor asks him if he wants to come to meet Katsudon at the airport he grumbles a lot but agrees before Viktor has enough time to rescind the offer.

By the time they arrive, other- Yuri is already waiting by the carousel, watching as the bags spin past with an impatient expression on his face.

“Lubov! We’re here!” Viktor practically drapes himself across his fiancé, and Yuri tries hard to stifle his snickers when other-Yuri jumps, and pushes him off, before turning to Yuri.

“Yura! How have you been?” He asks, wrapping arms around his shoulders in a bracing hug Yuri wants to hate but can’t.

Yuri doesn’t bother answering in English, ‘Fine, now get off me!’

Other- Yuri raises an eyebrow, but shrugs and let's go, moving to grasp Viktor’s hand in his own. The old man doesn’t seem to notice, and Yuri can’t help but wonder if he knows yet, or if he’s really just that dense.

He wonders if other Yuri knows that he knows, or if he to doesn’t even really differentiate between the languages anymore then Yuri does when he spends enough time in an English speaking country. They start to blur together. He doesn’t care enough to ask.

Two days later and other- Yuri and Viktor are in the rink, up before dawn, and skating before even Yakov is there. Skating in Russia is different than skating anywhere else. They work harder, longer, and Yuri doesn’t think that other-Yuri is going to be able to handle it, but it’s noon already by the time Yuri gets on the ice, and they’re both still there, Viktor watching from his position on the rink- even though Yuri’s pretty sure he’s supposed to be warming up- as other- Yuri runs through his step sequences. Even Yuri admits they’re beautiful, at least, he admits it to himself, he’s always thought so, but the love lorn look on Viktor’s face has gone so past professional admiration, past coach-ly pride, and into sickeningly in love that Yuri shouldn’t be held responsible for his actions. He’s a child and the lust in Viktor’s eyes is most certainly not appropriate. He’s saved from possibly having to go to jail by Yakov, who’s screaming Viktor’s name the minute he spots him hovering on the ice. Other- Yuri doesn’t falter, only adjusts his position so he’s occupying the corner of the rink Yakov had just told Viktor his student could use. Viktor doesn’t seem to notice that other-Yuri’s already there, already keeping his position, only relays the message in English, and turns to face Yakov, but Yuri notices, and judging from the squinty glare Yakov is throwing the other- Yuri, so did he.

Practice continues in the same vein. Viktor and other-Yuri show up for practice at obscenely early hours for Yuri’s private rink time. Their practice over laps for about two hours, with other-Yuri’s cool down and Viktor’s warm up, and then Yuri disappears sometime in the middle- Yuri later finds out it’s for ballet, with Lilia, who genuinely seems to like him- only to return towards the end to watch the last of Viktor’s private ice time with Yakov, who also seems to genuinely like him. Yuri isn’t sure how other-Yuri managed it, but everyone at the rink seems to love him. He even heard some of the ice dancers whispering in the lunch room yesterday about how good he was for Viktor.

About two weeks in he’s pretty sure that everyone at the rink is aware that other- Yuri has at least a passing comprehension in Russian except his own fiancé, who continues to translate random phrases that he deems important. He catches Yakov speaking quietly with him in Russian over the edge of the rink, Viktor nowhere in sight, and while other-Yuri is definitely answering in English, he’s obviously having no trouble keeping up with Yakov’s brusk manner of speech.

It’s a struggle to decide whether to point it out, or watch patiently for it all to explode in a million pieces. He can just picture it, other-Yuri’s tomato red face when the truth comes out. Part of him wants to see it, other-Yuri’s impending embarrassment, but the rest of him knows that this whole predicament is obviously Viktor’s fault (maybe Yuri should have said something but really, it’s been obvious from the beginning!) So he decides it’s probably best if he asks because, like everyone else, he’s fallen for his stupid, irresistible charms and he actually likes him. Even if he’d rather cut off his own foot than admit it. He’s pretty sure other-Yuri knows anyways.

“Can I ask you a question?” They’re in the locker room. Yuri is starting later than normal today, and other- Yuri must just be leaving for his ballet lessons with Lilia.

Other-Yuri pauses in untying his skates.

“Of course Yura. Is something wrong?” He sounds so genuinely concerned, and Yuri wars with the desire to yell at him for it, or hug him. There’s something so unerringly disarming about his presence that Yuri’s had to stop himself from doing exactly that at on multiple occasions.

“I just- well.” He hates himself for his stuttering speech. He could blame it on the English, which he still tends to use with other-Yuri out of habit, blame it on the fact that he’s barely spoken it at all in months, but he’s pretty sure nobody would believe him, least of all Yuri, who is startlingly observant at times (and unsurprisingly oblivious when it comes to himself).

Other-Yuri is sitting up straight now, efforts of unlacing abandoned, and he’s got a frown so deep on his face Yuri thinks that he’s probably going to pull a muscle.

“Yura?”

“Yeah, just, Viktor doesn’t know you speak Russian.” He says it quietly, calmly, it’s probably the first time he’s said something to other-Yuri that hasn’t been screaming or an insult, but he doesn’t even look surprised. Of course he doesn’t. Because other-Yuri can see through him like he’s made of glass, knows exactly what he means even when he’s saying the exact opposite.

Other-Yuri visibly flinches, and glances surreptitiously at the door behind Yuri’s shoulder, like double checking that no one’s there to hear them. He looks so guilty that Yuri almost feels bad for asking. “No, he doesn’t”

Yuri doesn’t respond, only raises an eyebrow for him to continue.

“I- he, well. You know I studied languages, da?” And, wow, the fact that Viktor doesn’t know when other-Yuri is using Russian replacements for what he knows were once Japanese and, maybe once upon a time, English, colloquialisms without seemingly any thought is simply astonishing.

Maybe he thinks his boyfriend- fiancé says a voice that sounds uncomfortably like Viktor’s- picked it up from him, but they’ve only been in Russia two weeks. Maybe Yuri’s over thinking this, but, even if he is it still should be obvious. He doesn’t say any of this though, only nods, once, slowly, and waits for the Katsudon to continue.

“Well, he knows I studied linguistics and languages. My kaa-chan, ah… my mom, she told him, first week he was there, same as she told you. I honestly thought he knew for the longest time, Yuri, really. I wasn’t keeping it from him on purpose, I mean, I also speak French, a little German, conversational Thai, it’s.. it’s not uncommon knowledge in the skating circles that I’m, well, interested in languages,” Yuri almost laughs out loud here because interested is not the word. He would have used gifted, maybe. He’s allowed to admit these things in the safety of his own head. “anyway, he spoke in Russian a lot, those first couple of months, and it dwindled, a little, but it picked up again after we-” he stops, coughs, normally Yuri would complain but he doesn’t actually mind and right now isn’t the time. “Never mind, I’m getting off track. My point is, I thought he knew until Barcelona, when he started translating things for me, and even then I thought it was a joke, but then he started translating for Chris, who thought it was hilarious by the way because I love Viktor but my French is better than his, and when I finally realized… It’d been months, Yuri, and then I remembered everything he’d said in Russian and I realized those were probably not things I was supposed to understand. It wasn’t anything terribly interesting just, god I’m so embarrassed? And he still hasn’t noticed and-” His breath gets a little heavy and Yuri, in all his bluster and teenage angst, knows that his anxiety is worse than he lets on, knows because he understands.

“Hey, wow, Katsudon… Yuri. Can I touch you?” Other-Yuri pauses, then shakes his head and takes a deep breath.

“I- I’m sorry, you shouldn’t have to…”

Yuri shakes his head raises a hand to pat his shoulder, remembers his original refusal, and drops it back into his lap. Yuri notices, of course he notices, and smiles at him, small and trembling.

“Don’t worry about it. I don’t mind. You’ll just have to return the favour sometime, da?”

Apparently that does actually surprise him, this small display of weakness, not, Yuri thinks, because it is actually a weakness. Because it isn’t, no matter what Katsudon or anyone, or even Yuri sometimes thinks. He isn’t sure if it’s Yuri’s own admittance of it, or the actual fact that surprises him though. It doesn’t matter anyways.

Other-Yuri sighs, and reaches out tentatively to grasp his his hand, nods solemnly. Yuri doesn’t bother pulling away, there’s no one else there to see it.

The conversation ends there. Yuri doesn’t point it out when Viktor continues to translate random snatches of conversation, although, he does roll his eyes more, usually in view of Other-Yuri, and has to stifle laughter when Yuri in turn shoots him exasperated, pleading looks behind Viktor’s back.

Other-Yuri starts taking him out to lunch on the weekends, when Viktor’s at the rink and it’s both of their days off.

Yuri still snarls and scoffs and hurls insults, but now other-Yuri just smiles sweetly and raises a challenging eyebrow, like he’s asking if that’s all Yuri’s got. (It isn’t. Of course not. But he doesn’t actually want to hurt the Katsudon’s feelings so…) They fall into an easy sort of companionability, and, he will even admit out loud, for Katsudon’s ears only, that he enjoys it.

He’s friends with Otabek, obviously, and Mila, sort of, and he had a handful of friendly acquaintances before he started doing all his course work by correspondence, but Yuri, (who has recently given him permission to call him Yuu-chan, if it made things easier (Yuri did, in private because he was sort of honoured- he looked things up alright?)) was different, he didn’t demand anything of Yuri, didn’t expect anything of him, and, when he was feeling particularly vulnerable, held up his promise without question. They were friends, equals, which is why Yuri is trying to signal him to stop talking.

They’re at the rink, it’s Viktor’s day off, and they’re standing at the boards talking. (Yuri had finally managed to convinces other-Yuri to actually speak Russian, instead of just listening, because he was never going to improve if he didn’t, Yuri had agreed reluctantly. (Turns out his Russian is perfect, if slightly accented with softer Japanese vowels, and, rarely, oddly pitched English sounding consonants)).

Other- Yuri is facing the middle of the rink, speaking loudly, because everyone else had left for lunch, when Viktor walks through the door. Yuri immediately switches to English, flicking his eyes behind other-Yuri’s head, but he doesn’t seem to catch his meaning. Continuing his complaints, slouching over the boards, and only blinking, surprised when Yuri switches languages out of no where.

Viktor’s getting close though, and he’s definitely going to notice, and as much as Yuri thinks finally, he doesn’t want Katsudon to be hurt, so he pokes him in the stomach and hisses.

“Yuu-chan!” At the same time that Viktor says “Yuratchka!”

The other-Yuri nearly falls over in his hurry to turn around, skates slipping out beneath him, barely grabbing the boards in time to keep himself up right.

“Vitya! What-” he catches himself, pauses, reassess, tries again. Yuri’s pretty sure it’s too late now though.

“Viktor what are you doing here?” It’s English this time, but Yuri can see the moment Viktor gets it. It’s the same moment that other-Yuri lets all pretences drop and thunks his head down on the boards.

“You’ve been learning Russian!” Or maybe not.

“What? Viktor, no.”

“Yes yes, I just heard you! You don’t need to hide it anymore. Was it supposed to be a surprise? I could have helped!”

Yuri can’t help the look he throws the Katsudon because really could Viktor be any dumber right then? He finds that Yuri’s already looking at him, but his gaze drifts back too Viktor a moment later.

Yuri’s tempted to leave, to skate away, but this is also horribly fascinating, so instead he sidles up to the boards and pulls himself up. Other-Yuri shoots him a half disapproving look, but he doesn’t say anything, Yakov isn’t here to get mad right then.

“Viktor, I didn’t need your help.” He says it slowly, like he’s hoping Viktor will get it without him having to say anything outright.

Viktor just frowns, one hand fluttering to his chest. “Oh.”

Other-Yuri sighs. Tries a different tactic. Yuri’s half way to blurting ‘he’s been speaking Russian as long as I have!’ but refrains. He’s just here to watch.

“Viktor… you know I speak French right?” Viktor nods, looks at Yuri like he thinks he’s trying to change the topic of conversation. “So.. You know you don’t have to translate anything when Chris calls right?” Viktor just blinks, like this is a surprise, and Yuri knows he’s not dumb. He really isn’t, he can calculate the exact angle and velocity needed to land a jump in his head, but sometimes he wonders how he gets through the day because he really just never bothers to think.

“And… You know I studied Languages in college?” Viktor nods, and Yuri thinks that maybe he’s starting to see a dawning of understanding in his eyes.

“So… Ya. I ah, honestly thought you knew? I guess? And when I figured out you didn’t I just- well, it’d been so long. I didn’t know how-”

“How long have you been able to speak it?” Viktor doesn’t look mad. Mostly curious.

“Oh, well. Ah… Properly? Only since my second year of University? But, my comprehensions been pretty decent since I was… 15 or 16 maybe? I started learning when I was 13.” Yuri looks proud, but also a little embarrassed to admit that.

Suddenly Viktor’s bright red and “oh my god you understand me.” This doesn’t make any sense to Yuri, but the other-Yuri goes a little pink and coughs, throwing a glance Yuri’s way before looking back at Viktor apologetically.

“I’m sorry. I didn’t know I wasn’t supposed to, at first. And I mean, there were some things… Not exactly every day vocabulary you know?”

The doors bang open then, and Yakov storms in, followed by Mila. Yuri can just see the trickle of other skaters and coaches on the other side.

“Viktor! What are you doing here? It’s your day off. You’re distracting Yuri! Don’t think I don’t see you on those boards Yura! Suicides! And then I want to see jumps from both of you, Yuris!”

Viktor opens his mouth, looks at other-Yuri, who’s already skating backwards, and turns impossibly redder. “He didn’t ask me to translate.” He says, “He hasn’t, does everyone know?” Other-Yuri looks guiltier in contrast.

“I’m really sorry Vitya. Vicchan. I am I promise.” Viktor shakes head, beckons him closer, presses a kiss to his lips, still looking a little dazed, but then he turns to Yuri and… Oh no, what does he have on him that he’s going to use to turn the situation around? Yuri knows that look.

“So. You’re calling him Yuu-chan now?”

Yuri’s going to kill him. He doesn’t care if Katsudon will be sad.

[orpheus-type-beat]

Percy Jackson part 1

Confession time: I was a gigantic Percy Jackson and the Olympians fan as a kid, so this book is very nostalgic to me. I haven’t reread the series in a long time though, especially not the first book, so it’s very interesting to read this stuff again as an adult. I was struck with a couple of observations. First, It’s a pretty good book, which is a relief. I can defend my 11-14 year old self’s tastes, this is mostly a solid kids fantasy novel. 

More relevantly, it’s very different in tone and in execution than Rick Riordan’s later books, especially his sequel series Heroes of Olympus. Those books bounce between different perspectives, and the whole thing is written in a close third person. Moreover, they are so caught up in the lore and the universe and the Percy Jackson formula that they, I feel, lost touch with something the original series had that made it feel special to me. Rereading the first book in the series, I think I have a better understand why.

Perspective

I’m a sucker for first person narration in novels, I’m realizing. Another one of my childhood favorites, the Animorphs series (shoutout to anyone who read those), was also written in this same sort of first person. Each book began with a very post-modern, “if you’re reading this it’s too late,” exposition machine that explained the premise of the series, who the important characters were, and set up the events of the book. The meta, post-modern framing device is never fully explained (why were the characters of the Animorphs, or Percy Jackson himself, writing any of this down?), but are used as a framing device to enhance suspension of disbelief, and to enable humor (through snarky asides).

This close first person, a sort of refined stream of consciousness that feels like a combination between a movie shot entirely in one characters’ POV and a letter written to a friend, is missing in the later Percy Jackson series, I think to its detriment. Not only does the first person narration makes sense in a Greek setting — it emphasises orality, putting this book in conversation with orally transmitted greek myths — it also enhances the series’ humor. A lot of the humor comes from Percy’s wisecracking during fightscenes, which gives the series an action-comedy feel. The comedic portrayal of many of the gods and supernatural beings adds to that, but much of the comedy comes from Percy’s reaction to events, not from the events themself. This enables the events to be able to be taken seriously while simultaneously being mocked and used for humorous purposes.

The first person perspective also differentiates this series, tonally and technically, from Harry Potter (which is a much more obvious influence in this first book: he goes to boarding school, has an abusive home life, and lives in the legacy of a mysterious parental figure). In many ways, this book reads like post-modern Harry Potter — the sense of wonder and fairy tale magic is replaced with humor and a system of magic that feels more logical and rule based. Stuff like the Mist, as an explanation for how the magic in the world remains hidden, and the fact that monsters explode into dust makes this an urban fantasy, akin to sci-fi as much as fantasy. Harry Potter, in contrast, is firmly rooted in fantasy.

The second Percy Jackson series moves to a close third person narration style, and while there are benefits to this (for example, there isn’t the need for the dream sequence exposition hack, and the series can accommodate diverse perspectives more directly) I think something tonally and structurally is lost. It loses the sense of orality, the primacy to the action and humor lent by a first person narrator with a “unbelievable true story” framing device. That blending of the border between fact and fiction is what myth accomplished in Greek times, and what the original Percy Jackson series accomplished for a lot of people, and surrendering that means surrendering something special.

Disability

I had forgotten what a big deal disability is in these books. The thread of all demigods being troubled kids with mental disabilities, specifically learning disabilities, is I think really interesting and radical. We still live in a world where mental illness is taboo, but some mental illness are less taboo than others. In particular, when people say “mental illness” they usually aren’t referring to all mental illness. Usually, they are referring to a subset of mental illnesses, issues like depression, various types of anxiety, bipolar disorder, borderline personality disorder, etc. — mood, personality, or anxiety disorders. 

Of course, those illness are all still massively stigmatized, but all of those disorders tend to leave cleverness, speech, and some behavior intact. It’s easier to “pass,” in a sense, with those disorders, than it is with other mental illness. We can understand the troubled genius better than we can understand someone who is intellectually disabled. 

That’s what makes the learning disability angle so interesting. In theory, these demigods aren’t troubled geniuses, they’re normal, unexceptional kids (discounting the water bending and sword fighting) who can’t read or write well, can’t focus, and don’t always succeed in the classroom. They aren’t brilliant, but fragile minds. They’re just C, D, and F students, with gifts that are incompatible with our school system’s expectations about the pace of learning and what achievement looks like.

These are the kind of kids we don’t tend to recognize as valuable, and worthy of being written about and made heroes. And if I remember Riordan’s impetus for writing this series was his son’s own struggles with learning disability: dyslexia and ADHD. But in the Heroes of Olympus series, this disability angle is really de-emphasized, and I think to its detriment. It loses the “it gets better” message and inclusivity to people who, even in narratives about mental illness, often get left out. 

Myth Making

This brings me to the interesting ways this book is in conversation with Greek myth, and myth in general.

First of all, having all the demigods have dyslexia and ADHD is a clever inversion of the typical Greek hero’s childhood. Usually, Greek heroes were preternaturally gifted, succeeding in and out of school, and are immediately recognized as different and special. In this book, the heroes are recognized as different, but not as special, but as lesser than. This transform the Greek hero’s sense of inevitable destiny into an underdog story — one that works for modern audiences, the way a gifted noble’s path to glory worked for ancient ones. This reflects modern conceptions of democracy, and the mobility of class, that didn’t exist in ancient times (reminder that Athenian democracy was for rich, landowning men).

Second of all, there is a distinctly non-Christian concept of cycles at play in this book, and in this series. Threat to Zeus’ rule by Titans is thematically compatible with ancient Greek succession myths. And the bit about monsters turning into dust and then reforming eventually creates an overarching them of balance: the war between good and evil is eternal and constantly shifting. The best anyone can do is try to shift the balance, temporarily, in a positive direction. This makes all of the fun bits, like locating the modern Mount Olympus in New York City, having the gods adopt modern trends, work thematically as well as humorously. There an almost Eastern theme of yin and yang, which in all honesty is reflective of Eastern influence on the Greeks and Romans.

Thirdly, Rick Riordan has one mode, it’s just the Odyssey, and that’s fine. The road-trip rompy with constantly shifting objectives leading up to some climax that reveals itself to have been behind the scenes all along is a classic narrative structure that is very ancient Greek, and so works in a story so deeply in conversation with ancient Greek myths.

Conclusion

Finally, by way of conclusion, the thing that makes this first Percy Jackson book/series work, and interesting in conversation with fantasy, myth, and stories about heroes, is one of its central themes: the deification of humanity. The gods in this universe are static, comic figures. Humans are the ones that are able to change things — that’s why the gods love them, and keep making demigods all the time — and humans are the ones, in the series, that are capable of real good and real evil. 

(Semi spoiler alert) In the last book, it is the human capacity for love, sacrifice, and good that saves the day, and produces positive change in the world. The gods are powerful and eternal, but the real source of beauty in the world is humanity, in its capacity for change, rebirth, and renewal. Gods get bored, get cynical, get complacent. They decay, eternal and unmoving. In contrast, humans die and new ones are born, and to them the cyclic war between good and evil remains fresh. Humanity can continually change without movement or exhaustion, constantly relearning the same lessons and experiencing the same joys and sorrows afresh. Gods, locked in a cycle, go around once and are bored and numbed forever, while the human experience stays continually vital and alive.

That’s why this series, despite being so rooted in Greek myth and fantasy, feels so modern and sci-fi influenced (as a huge sci-fi fan, that’s probably why I like it so much), and why this story — despite its post-modern trappings — reaches for sincerity. Gods, in the Percy Jackson universe, can’t survive on their own. They are immortal, but they can grow tired. They can be broken by endless living, and fade away. The gods rely on people to break up the monotony, to remember them and keep them alive: humans are the source of life in this universe. 

(real spoiler alert). The series ends with Percy being offered godhood, immortality, which he rejects. That’s the thematic conclusion to the entire series, and its significant. Besides true love or whatever, the reason Percy rejects immortality is that he realizes that to live and die, taking part in the cycle, is more meaningful than eternal life. Becoming a god would mean forfeiting that meaning. This is a series about gods and monsters and nymphs, but the real magic in this world is humanity. 

Our magic is thus: unlike the gods, as time streams past, we remain untouched by eternity. And I’d argue, like this series does, that that’s real immortality.