The Headlines And Anecdotes Being Shared About Tesla Dealerships And Cyber Trucks Getting Wrecked And

Full roster of Multiversus characters

On this day, 11 August 1964, 18-year-old Scottish anarchist Stuart Christie was arrested in Madrid while carrying explosives to blow up Spain’s right-wing dictator general Francisco Franco. Christie was working with the underground anarchist resistance to the regime, which began after Franco’s victory in the Spanish civil war in 1939. However, unbeknownst to Christie at the time, the resistance group had been infiltrated and its plan betrayed. When Christie went to an American Express office in Madrid, he noticed a member of staff alerting undercover police, and promptly left. He later recounted to the Guardian newspaper: “I felt curiously detached as I took a deep breath and walked out of the office, trying to keep my face expressionless. Mustering all the confidence I could, I paused at the doorway to look at the group of five men now standing to one side of the entrance. Until I appeared at the doorway they had been deep in conversation. They stopped briefly, exchanging knowing looks with one another, and carried on. An empty taxi pulled in to the pavement beside me. But when the driver appeared to invite me to get in, I knew it was an undercover police car. I was being hemmed in. By this time I had reached the corner of the busy calle Cedaceros. As I steeled myself to make a dash through the crowds I was suddenly grabbed by both arms from behind, my face pushed to the wall and a gun barrel thrust into the small of my back. I tried to turn my head but I was handcuffed before I fully realised what had happened. It was all over in a matter of moments.” When arrested Christie was wearing a kilt, which confused the Spanish press in to describing him as “a Scottish transvestite.” He was sentenced to 20 years in prison but after an international campaign in his support he was released in 1968. Christie remained active supporting and helping record the history of the Spanish resistance movement until the end of his life in August 2020. https://www.facebook.com/workingclasshistory/photos/a.296224173896073/1781778678673941/?type=3

Heads up everyone, there's a new scam in town!

(Or perhaps an old one and I am late to the party)

Reasons it is a scam:

1) long, but doesn't reference the fic or characters at all

2) wants money - and will only communicate through dms, they don't have a public profile with proof of their work

And finally!

3) I googled this copy paste text and... suprise! It is a copy paste text. Loads of other people have the same ask

Stay safe and don't fall for this all!

A lot of fiction these days reads as if—as I saw Peter Raleigh put it the other day, and as I’ve discussed it before—the author is trying to describe a video playing in their mind. Often there is little or no interiority. Scenes play out in “real time” without summary. First-person POV stories describe things the character can’t see, but a distant camera could. There’s an overemphasis on characters’ outfits and facial expressions, including my personal pet peeve: the “reaction shot round-up” in which we get a description of every character’s reaction to something as if a camera was cutting between sitcom actors.

When I talk with other creative writing professors, we all seem to agree that interiority is disappearing. Even in first-person POV stories, younger writers often skip describing their character’s hopes, dreams, fears, thoughts, memories, or reactions. This trend is hardly limited to young writers though. I was speaking to an editor yesterday who agreed interiority has largely vanished from commercial fiction, and I think you increasingly notice its absence even in works shelved as “literary fiction.” When interiority does appear on the page, it is often brief and redundant with the dialogue and action. All of this is a great shame. Interiority is perhaps the prime example of an advantage prose as a medium holds over other artforms.

fascinated by this article, "Turning Off the TV in Your Mind," about the influences of visual narratives on writing prose narratives. i def notice the two things i excerpted above in fanfic, which i guess makes even more sense as most of the fic i read is for tv and film. i will also be thinking about its discussion of time in prose - i think that's something i often struggle with and i will try to be more conscious of the differences between screen and page next time i'm writing.

there’s just some fics... they never leave u bro. i’ll be sitting on the toilet four years later thinking about the 94k enemies to lovers fic that captured my soul

On the topic of tv shows, if anyone ever wants recommendations for Korean thrillers with solid characterisation and plot, i have watched so many in last couple of years. Including police procedural, sci fi, horror, urban fantasy, courtroom, gangster etc. seriously some of the best shows ive seen and streets ahead in quality than any english speaking shows ive seen in years.

I love that Tolkien took a paragraph aside in Bree, after all the horses were run off, just to let us know that A) Merry’s ponies were going to be fine and B) Mr. Butterbur would not, in the long run, suffer financially by the incident. He understood what was really important.

"He, Cromwell."

MARK RYLANCE as Thomas Cromwell Wolf Hall: The Mirror And The Light (2024)

On this day, 9 December 1842, one of the founders of contemporary anarchist communism, Peter Kropotkin was born. An activist, scientist, and philosopher, he abandoned his aristocratic background in favour of the revolutionary working class struggle. He participated in the 1917 Russian revolution, and wrote numerous influential works, including Mutual Aid: a Factor of Evolution. In this work he criticised interpretations of the ideas of Charles Darwin which focused on competition, and highlighted instances of cooperation in the natural world. “If we … ask Nature: ‘who are the fittest: those who are continually at war with each other, or those who support one another?’ we at once see that those animals which acquire habits of mutual aid are undoubtedly the fittest. They have more chances to survive, and they attain, in their respective classes, the highest development of intelligence and bodily organization.” These ideas continue to be influential today. Evolutionary biologist Stephen Jay Gould wrote of Kropotkin: “I would hold that Kropotkin’s basic argument is correct. Struggle does occur in many modes, and some lead to cooperation among members of a species as the best pathway to advantage for individuals. If Kropotkin overemphasized mutual aid, most Darwinians in Western Europe had exaggerated competition just as strongly. If Kropotkin drew inappropriate hope for social reform from his concept of nature, other Darwinians had erred just as firmly (and for motives that most of us would now decry) in justifying imperial conquest, racism, and oppression of industrial workers as the harsh outcome of natural selection in the competitive mode.” We have made available several of Kropotkin’s works, as well as a brand new beautiful illustrated edition of Mutual Aid in our online store. Check them out here: https://shop.workingclasshistory.com/collections/all/peter-kropotkin https://www.facebook.com/workingclasshistory/photos/a.296224173896073/1871872012997940/?type=3