#mary faber

[john-bracket]

[homecoming]

there is nothing left to analyze.

[noura-addams]

The Top Favourite Boys are Here:

Bless me with another figures to add on this one .. also if the numbers above are wrong I'm so sorry for that,correct me if you know the real heights.

What's the reason from this? nothing .. just for fun ♡.

Also yeah here my friends:

Enjoy everyone..

[esonetwork]

Doctor Who: 73 Yards Review | Earth Station Who

New Post has been published on https://esonetwork.com/doctor-who-73-yards-review-earth-station-who/

Doctor Who: 73 Yards Review | Earth Station Who

Get ready for a deep dive into ’73 Yards,’ the latest thrilling episode from Season 14 of the new Doctor Who series, on the Earth Station Who Podcast! Join hosts Mike F., Michael G., Mary Ogle, and special guests Matthew Kresal and Jeremy Wilcox as they unpack every suspenseful moment. Discover the intrigue behind the Doctor’s mysterious disappearance and the enigmatic woman who remains precisely 73 yards away from Ruby Sunday. Explore the chilling mystery of Mad Jack and delve into the episode’s key themes, character developments, and the secrets that the woman is using to scare people away from Ruby. Whether you’re a die-hard Whovian or new to the TARDIS, this episode promises engaging insights and expert commentary on all things Doctor Who. Tune in now for the excitement and adventure of ’73 Yards,’ exclusively on the Earth Station Who Podcast!

We want to hear from you! Please write to us at feedback@earthstationwho.com. Also, please subscribe and rate the show on iTunes, Amazon, YouTube, or wherever fine podcasts are found. Feedback is always welcome and much appreciated.

Links Listen to older episodes of the Earth Station Who Podcast ESW on iTunes Earth Station Who on Spotify Earth Station Who on Instagram Earth Station Who on YouTube Make-A-Wish Foundation The ESO Network TeePublic Store The ESO Network Patreon Bat Chums

Promotion Cosmic Piza

If you would like to leave feedback or comment feel free to email us at feedback@earthstationwho.com

EarthStationWhoPodcast #73Yards #73YardsReview #DoctorWho73Yards #DoctorWhoSeason14 #NewDoctorWhoepisode #DoctorWhopodcastreview #DoctorWhomystery #RubySundayDoctorWho #RubySunday #MadJack #MadJackDoctorWho #DoctorWhocharacteranalysis #DoctorWhoepisodediscussion #DoctorWhofanpodcast #DoctorWhoReviews #DoctorWhotheories #DoctorWhocommentary #TARDISadventures #DoctorWho #DoctorWhoPodcast #Podcast #DoctorWhoepisodeanalysis #DoctorWhofaninsights #73Yardsepisodebreakdown

[dontmeantobepoliticalbut]

A bill that would add child sex trafficking and statutory rape to the crimes eligible for the death penalty was debated Monday in a Missouri Senate committee — despite conflicting with U.S. Supreme Court precedent.

The legislation is sponsored by state Sen. Mike Moon, an Ash Grove Republican who said Monday that one of the “principal purposes of government” is to “punish evil.”

Rape of children under 14 and child trafficking of children under 12 would be crimes eligible for the death penalty under his bill.

“And what’s more evil than taking the innocence of the child during the act of a rape? Children are in large part defenseless and an act such as rape can kill the child emotionally,” he said.

“And so I believe a just consequence, after a reasonable opportunity for defense, is death.”

The Senate Judiciary and Civil and Criminal Jurisprudence Committee heard the bill Monday.

State Sen. Karla May, a Democrat from St. Louis, pointed to Moon’s stance of “believing in life” as an outspoken opponent of abortion without exception for rape or incest, yet supporting expanding the death penalty.

“A 12 year old who gets pregnant, you believe that she should bring that child in the world, am I correct?” May asked.

“What crime did that child, that developing human child, commit to deserve death?” Moon replied.

“…But you believe in killing the father to that child?” May asked, if the father is a rapist.

“Yes,” Moon said. “If an attacker commits a heinous crime such as the ones that I mentioned in this presentation, I believe that if they’re charged and convicted, absolutely.”

The Rev. Timothy Faber testified in support of Moon’s bill, pointing to the “lifelong repercussions” of child rape and trafficking.

“It’s also a well established fact that those who commit sexual crimes seldom if ever change their ways,” he said. “Once a sexual offender, always a sexual offender.”

Elyse Max, co-director of Missourians to Abolish the Death Penalty, opposed the bill during Monday’s hearing.

“If the goal is to overturn established U.S. Supreme Court precedent, it’s far from a guarantee,” Max said, “and the amount of resources the state of Missouri would have to spend as well as the trauma to child victims during the process cannot be understated.”

The U.S. Supreme Court in the 2008 case Kennedy v. Louisiana ruled giving the death penalty to those convicted of child rape violates the constitution’s ban on cruel and unusual punishment unless the crime results in the victim’s death or is intended to. Only homicide and a narrow set of “crimes against the state” can be punishable by death, the court ruled.

“Adding statutory rape and trafficking as death-eligible crimes are a slippery slope,” Max said, “of expanding the death penalty to non-murder crimes that would bring the constitutionality of Missouri’s death penalty into doubt.”

“Instead of spending millions of dollars to possibly change long-standing precedent, Missouri resources should be spent to protect children from abuse in the first place, and ensure survivors have access to mental health treatment and proper support, following the offense,” Max said.

Moon said, regarding the Supreme Court precedent, that it’s worth challenging.

“That’s something that we need to start the conversation about,” he said, “and those things need to be challenged.”

Florida passed a similar law for victims of rape under age 12 last year. It received bipartisan support. In December, prosecutors in that state announced they’d seek the death penalty in a case of a man accused of sexually abusing a child.

Florida’s Gov. Ron DeSantis has said the state’s bill could lead the U.S. Supreme Court to revisit the issue.

Mary Fox, director of Missouri State Public Defender, which provides defense for the majority of death penalty cases in the state, argued Monday that the death penalty is “no deterrent to a crime.”

Fox also noted that an 18 year old dating a 14 year old could be executed under Moon’s legislation because that would be considered statutory rape.

Mei Hall, a resident of Columbia who also said she was a victim of sexual abuse, also testified in opposition.

“I don’t wish my abuser death,” Hall said. “I wish them to be sequestered away and unable to harm more people, for sure. But I don’t think it’s the state’s place to kill people in general and I don’t think it’s the state’s place to make it more difficult for child victims to come forward.”

Lobbyists from Empower Missouri and Missouri Association of Criminal Defense Lawyers also testified against the bill. A lobbyist from ArmorVine, testified in support.

Missouri was one of only five states to carry out death sentences last year, along with Texas, Florida, Oklahoma and Alabama. There are two executions scheduled for this year.

Three House bills filed this year would eliminate the state’s death penalty, but none has made it to a committee hearing.

[stjohncapistrano67]

I know I have already posted this quote, but I'm posting it again for a point. When I search for memes to post, I find memes from "rad trads" saying that they " don't worship Mary!" 🙄😬 I find this attitude cringe and ignorant. We pray for the Blessed Virgin Mary's intersession and blessings, and prayer IS worship. But I suspect that the meme makers in question, unconsciously probably feel that the protestant heretics are right and feel vaguely uneasy and uncomfortable. Anybody who reads St. John Eudes, St. Louis De Montfort, and St. Alphonsus Liguori knows with a PROPER theological understanding, that even though the Blessed Virgin Mary is the Most Exalted of created creatures, but is still a creature. But ABOVE all creation. She is the Daughter of God the Father, Mother of God the Son, and Spouse of the Holy Ghost. And all Her prerogatives and power come from the Holy Trinity. St. Alphonsus Liguri says in his book "The Glories of Mary, that it IS an impossibility to love and honor the Blessed Virgin Mary MORE than Her Son already loves and honors Her!! This should be common sense, but now a days common sense is in short supply. But seeing how the Vatican II council is a protestant heresy with a Catholic facade, it's easier to post theologicaly ignorant memes than do the hard thing and STUDY WHAT YOU BELIEVE!

[boatmediatourney]

⚓Boat Media Tournament⚓

Round 1, match 4

[craft2eu]

Der Stoff, aus dem wir sind. Irdene Bildwerke der Gegenwart: Ahrenshoop bis 15.09.2024

Diese Ausstellung bietet eine Auswahl zeitgenössischer Positionen der keramischen Kunst aus verschiedenen Ländern und Kontinenten. Sie richten sich an ein Publikum, das keramische Artefakte („Scherben“) als kulturelle Referenzobjekte erkennt und reflektiert – als von der Stunde ihrer Entstehung an in einem gleichsam archäologischen Kontext stehende menschliche Zeugnisse und Botschaften. Es…

[dynamobooks]

Jesse Armstrong et al: Succession: Season 2: The Complete Scripts (2023)

[crafantale]

Fourth character face build for Chaosium Call of Cthulhu play test

Based on a mix of doctors Mary Sturge and Agnes Bennett

Faber Castell pencils on Artista pad

Brightness/Contrast adjusted in Photoshop CS4

Protected by Glaze

No unauthorized use/edit/derivation/resale/repurpose including but not limited to non fungible tokens and machine learning for artificial intelligence application

No repost/reupload without all description and link back to this account

[homecoming]

nobody likes you (reprise) on broadway / first national tour / second national tour / asia tour / third national tour.

[fans4wga]

"The studios thought they could handle a strike. They might end up sparking a revolution"

by Mary McNamara

"If you want to start a revolution, tell your workers you’d rather see them lose their homes than offer them fair wages. Then lecture them about how their “unrealistic” demands are “disruptive” to the industry, not to mention disturbing your revels at Versailles, er, Sun Valley.

Honestly, watching the studios turn one strike into two makes you wonder whether any of their executives have ever seen a movie or watched a television show. Scenes of rich overlords sipping Champagne and acting irritated while the crowd howls for bread rarely end well for the Champagne sippers.

This spring, it sometimes seemed like the Hollywood studios represented by the Alliance of Motion Picture and Television Producers were actively itching for a writers’ strike. Speculations about why, exactly, ran the gamut: Perhaps it would save a little money in the short run and show the Writers Guild of America (perceived as cocky after its recent ability to force agents out of the packaging business) who’s boss.

More obviously, it might secure the least costly compromise on issues like residuals payments and transparency about viewership.

But the 20,000 members of the WGA are not the only people who, having had their lives and livelihoods upended by the streaming model, want fair pay and assurances about the use of artificial intelligence, among other sticking points. The 160,000 members of the Screen Actors Guild-American Federation of Television and Radio Artists share many of the writers’ concerns. And recent unforced errors by studio executives, named and anonymous, have suddenly transformed a fight the studios were spoiling for into a public relations war they cannot win.

Even as SAG-AFTRA representatives were seeing a majority of their demands rejected despite a nearly unanimous strike vote, a Deadline story quoted unnamed executives detailing a strategy to bleed striking writers until they come crawling back.

Days later, when an actors’ strike seemed imminent, Disney Chief Executive Bob Iger took time away from the Sun Valley Conference in Idaho not to offer compromise but to lecture. He told CNBC’s David Faber that the unions’ refusal to help out the studios by taking a lesser deal is “very disturbing to me.”

“There’s a level of expectation that they have that is just not realistic,” Iger said. “And they are adding to the set of the challenges that this business is already facing that is, quite frankly, very disruptive.”

If Iger thought his attempt to exec-splain the situation would make actors think twice about walking out, he was very much mistaken. Instead, he handed SAG-AFTRA President Fran Drescher the perfect opportunity for the kind of speech usually shouted atop the barricades.

“We are the victims here,” she said Thursday, marking the start of the actors’ strike. “We are being victimized by a very greedy entity. I am shocked by the way the people that we have been in business with are treating us. I cannot believe it, quite frankly: How far apart we are on so many things. How they plead poverty, that they’re losing money left and right, when giving hundreds of millions of dollars to their CEOs. It is disgusting. Shame on them. They stand on the wrong side of history at this very moment.”

Cue the cascading strings of “Les Mis,” bolstered by images of the most famous people on the planet walking out in solidarity: the cast of “Oppenheimer” leaving the film’s London premiere; the writers and cast of “The X-Files” reuniting on the picket line.

A few days later, Barry Diller, chairman and senior executive of IAC and Expedia Group and a former Hollywood studio chief, suggested that studio executives and top-earning actors take a 25% pay cut to bring a quick end to the strikes and help prevent “the collapse of the entire industry.”

When Diller is telling executives to take a pay cut to avoid destroying their industry, it is no longer a strike, or even two strikes. It is a last-ditch attempt to prevent le déluge.

Yes, during the 2007-08 writers’ strike, picketers yelled noncomplimentary things at executives as they entered their respective lots. (“What you earnin’, Chernin?” was popular at Fox, where Peter Chernin was chairman and chief executive.) But that was before social media made everything more immediate, incendiary and personal. (Even if they have never seen a movie or TV show, one would think that people heading up media companies would understand how media actually work.)

Even at the most heated moments of the last writers’ strike, executives like Chernin and Iger were seen as people who could be reasoned with — in part because most of the executives were running studios, not conglomerations, but mostly because the pay gap between executives and workers, in Hollywood and across the country, had not yet widened to the reprehensible chasm it has since.

Now, the massive eight- and nine-figure salaries of studio heads alongside photos of pitiably small residual checks are paraded across legacy and social media like historical illustrations of monarchs growing fat as their people starve. Proof that, no matter how loudly the studios claim otherwise, there is plenty of money to go around.

Topping that list is Warner Bros. Discovery Chief Executive Davd Zaslav. Having re-named HBO Max just Max and made cuts to the beloved Turner Classic Movies, among other unpopular moves, Zaslav has become a symbol of the cold-hearted, highly compensated executive that the writers and actors are railing against.

The ferocious criticism of individual executives’ salaries has placed Hollywood’s labor conflict at the center of the conversation about growing wealth disparities in the U.S., which stokes, if not causes, much of this country’s political divisions. It also strengthens the solidarity among the WGA and SAG-AFTRA and with other groups, from hotel workers to UPS employees, in the midst of disputes during what’s been called a “hot labor summer.”

Unfortunately, the heightened antagonism between studio executives and union members also appears to leave little room for the kind of one-on-one negotiation that helped end the 2007-08 writers’ strike. Iger’s provocative statement, and the backlash it provoked, would seem to eliminate him as a potential elder statesman who could work with both sides to help broker a deal.

Absent Diller and his “cut your damn salaries” plan, there are few Hollywood figures with the kind of experience, reputation and relationships to fill the vacuum.

At this point, the only real solution has been offered by actor Mark Ruffalo, who recently suggested that workers seize the means of production by getting back into the indie business, which is difficult to imagine and not much help for those working in television.

It’s the AMPTP that needs to heed Iger’s admonishment. At a time when the entertainment industry is going through so much disruption, two strikes is the last thing anyone needs, especially when the solution is so simple. If the studios don’t want a full-blown revolution on their hands, they’d be smart to give members of the WGA and SAG-AFTRA contracts they can live with."

[iliveforyouilongforyouvesuvia]

Personal brainrot addition to the character playlist for Muriel:

21 Guns by Green Day (specifically the broadway cast recording but I digress -)

It sounds like the most comforting thing he was able to say to himself when he escaped the Coliseum, stopped fighting for (what he thought was) Asra's safety, and just gave up to exist in the woods:

"Do you know what's worth fighting for When it's not worth dying for? Does it take your breath away And you feel yourself suffocating? Does the pain weigh out the pride? And you look for a place to hide? Did someone break your heart inside? You're in ruins.

One, twenty-one guns, Lay down your arms, Give up the fight,"

[annahamiltonsstuff]

Ich hab gerade das Bedürfnis ein How to Tatort zu machen, als Einsteiger ist es vielleicht schwierig wo man anfangen soll und wo man aufhört, weshalb man sich hier entlang hangeln könnte.

How to Tatort

1. Ich fang jetzt mit dem Saarbrücken Tatort (Leo Hölzer, Adam Schürk, Ester Baumann, Pia Heinrich) an, weil er hier auch am berühmtesten ist. Da ist die Chronologische Reigenfolge wahnsinnig wichtig, weil die Folgen aufeinander aufbauen.

1. Das fleißige Lieschen

2. Der Herr des Waldes

3. Das Herz der Schlange

4. Die Kälte der Erde

5. Der Fluch des Geldes

2. Beim Münchner Tatort (Franz Leitmayr und Ivo Batic) würde ich eigentlich sagen es ist egal wo man anfängt, da die Folgen nicht aufeinander aufbauen und auch kaum Hintergrundwissen benötigt wird. Aber es gibt Folgen mit denen man eher nicht anfangen sollte, weil es da meistens sehr tief in die Psyche der Charaktere und deren Beziehungen geht.

Der Tiefe Schlaf

Am Ende des Flurs

Mord unter Misteln

Die Wahrheit

Der Tod ist unser ganzes Leben

Die letzen beiden sind quasi inoffizielle Doppelfolgen. Weshalb "Die Wahrheit" vor "Der Tod ist unser ganzes Leben" ansehen.

"Mord unter Misteln" ist ne hammer Folge, aber ich denke man ist da sehr verwirrt von allen Charakteren. Und dem Krimi dinner und das jeder gerade wen anderen spielt, Ivo und Franz einen kleinen Streit haben etc.

Natürlich kommen auch Empfehlungen wo man stattdessen anfangen kann. Da ich denke, dass man in genau den Folgen die Charaktere gut kennenlernt.

Die letzte wiesn

One way ticket

Dreams

Wunder gibt es immer wieder

Hackl

Aber sonst ist es wirklich egal, weil es zwischen Franz und Ivo nie die eine kennenlern Szene gab.

3. Tatort Stuttgart (Thorsten Lannert und Sebastian Bootz). Bei dem Tatort würde ich sagen, ist die erste Folge wichtig und die tritte also

Hart an der Grenze

Tödliche Tarnung

Weil man hier die Charaktere und die sich gegenseitig auch kennenlernen. Man lernt gleich in der ersten Folge Sebastians Familie kennen und in der dritten "Tödliche Tarnung" wird Thorstens Vergangenheit erklärt und aufgearbeitet.

Sonst ist es eigentlich egal. Alles was man noch wissen muss ist das sich Sebastians Frau in "Spiel auf Zeit" von ihm trennt und Thorsten und Sebastian mal hardcore gestritten haben und man die Stimmung schon in den jeweiligen Folgen erkennt (also ich jedenfalls ;)

Aber mit welcher folge man nicht anfangen sollte ist

Die Nacht der Kommissare

Man ist da dann nur verwirrt, ich spreche da aus Erfahrung. Ich würds sogar goldene Regel nennen "keines falls mit Die Nacht der Kommissare beginnen."

4. Münster Tatort (Frank Thiel und Prof. Dr. Dr. Karl-Friedrich Boerne). Hier würd ich auch sagen es ist egal wo man anfängt, aber bei Story wie sich Thiel und Boerne kennenlernen ist es schon schön von anfang an dabei zu sein. Zumal Boerne ja nicht Kommissar ist sondern sich einfach zusätzlich in die Fälle als Gerichtsmediziner einmischt.

Weshalb ich sagen würde, Folge 1 und 2 sind fürn Anfang wichtig

Der dunkle Fleck

Fakten, Fakten

Wo ich nicht anfangen würde ist bei

Limbus

Propheteus

Bei "Limbus" geht's in Boernes Unterbewusstsein/Vergangenheit und man braucht da ein paar Vorkenntnisse. "Propheteus" ist etwas abgedreht, und da muss man erstmal den Humor vorm Münster Tatort kennen.

5. Tatort Wien (Bibi Fellner und Moritz Eisner)

Ich hab da selbst mit der ersten Folge begonnen, deshalb würd ich sagen ist es auch nicht notwendig. Aber ich hab Folgen die ich zum einsteigen empfehlen würde

Her mit der Marie!

Glück allein

Azra

Die erste ist im großen und ganzen ne hammer Folge, aber man lernt auch Bibi mit ihrem Helfersyndrom kennen und liebe. Und auch die Dynamik mit Moritz kommt da gut zur Geltung.

6. Dortmund Tatort (aktuell Peter Faber, Jan Pawlak, Rosa Herzog)

Also ich glaube beim Dortmund Tatort ist auch die Reigenfolge wichtig, weil viele Charaktere regelmäßig aussteigen und neu einsteigen. Und man bekommt dann von Anfang an immer wieder kleine Portionen von Fabers trauma mit.

Wer das orginal Team ansehen will (Faber, Bönisch, Dalay, Kossik). Folgende Reigenfolge

1. Alter Ego

2. Mein Revier

3. Eine andere Welt

4. Auf ewig dein

5. Hydra

6. Schwerelos

7. Kollaps

8. Hundstage

9. Zahltag

10. Sturm

Wer nur wegen Jan Pawlak den Dortmund Tatort ansehen will kann auch ab seinem ersten Auftritt anfangen. Aber einem fehlen einige Hintergrund Infos zu Fabers Vergangenheit. Da die Charaktere weitergehend auftreten.

Reigenfolge ab Jan

11. Tollwut

12. Tod und Spiele

13. Zorn

14. Inferno

15. Monster

16./17. In der Familie (doppelfolge mit dem Münchner Tatort team, und Dalay steigt aus)

18. Heile Welt (Rosa Herzog wird neue Kollegin)

19. Masken

20. Gier und Angst

21. Liebe mich! (Letzte Folge mit Bönisch)

22. Du bleibst hier

23. Love is pain

Ich glaub das wars dann soweit von mit ✌️

[esonetwork]

The Diary of River Song Series 8 Review | Earth Station Who

New Post has been published on https://esonetwork.com/the-diary-of-river-song-series-8-review-earth-station-who/

The Diary of River Song Series 8 Review | Earth Station Who

Delve into the captivating world of Doctor Who with the Earth Station Who Podcast’s review of the Big Finish Audio’s, “The Diary of River Song” series 8! Join us as we journey alongside the enigmatic River Song through time and space in this thrilling audio adventure. Joined this week by Podcaster Julie Filipek, we explore each riveting chapter of River’s escapades along with Rachel and K9, unraveling the mysteries of her captivating character through Time and Space. Whether you’re a devoted Whovian or a casual listener, our review promises to immerse you in the rich storytelling of Professor River Song and the ever-expanding universe of Doctor Who. Tune in now for an unforgettable journey with the Doctor’s most intriguing companion!

We want to hear from you! Please write to us at feedback@earthstationwho.com. Also, please subscribe and rate the show on iTunes, Amazon, YouTube, or wherever fine podcasts are found. Feedback is always welcome and much appreciated.

Links Listen to older episodes of the Earth Station Who Podcast ESW on iTunes Earth Station Who on Spotify Earth Station Who on Instagram Earth Station Who on YouTube Make-A-Wish Foundation The ESO Network TeePublic Store The ESO Network Patreon Watchers in The 4th Dimension

Promotion Tales From Hollywoodland

If you would like to leave feedback or comment feel free to email us at feedback@earthstationwho.com

[running-tweezers]

Heyya~~ 💕💕 what musical and song would Vincent love and try to (lovingly) force on Lovely?

Hellooooo 💕💕

I thought about this one for a really long time. But my mind kept coming back to this one and I don’t think I can deny my instincts.

Vincent strikes me as the kind of guy who rejects the Elitism of Theatre™️ and would like something a little more fun and non-traditional. So my mind went the jukebox musical route. Some elitists think jukebox musicals are “lesser” somehow, but they can be just as good if not better than original musicals, in my opinion. And also Vincent’s.

I kept coming back to American Idiot, the Green Day jukebox musical. Something about the early 2000’s setting, Vincent’s edgy ex-emo past, and the non-traditionalness of it all makes me think Vincent would love it.

As for song, I HAVE to go with the absolutely GORGEOUS version of 21 Guns that’s in this musical. Personally, I like it more than the original. The orchestration and harmonies are just PEAK. And Rebecca Naomi Jones’s voice is so perfect, I love her.

(Runner up here would probably be Rent, just because he grew up in the 90’s and there is no show more synonymous with the 90’s than Rent)