Amid President Donald Trump’s attacks on Harvard, White House Press Secretary Karoline Leavitt on Tuesday lambasted the usefulness of the university’s education, arguing the United States needs more “plumbers” rather than “LGBTQ graduate majors.” In its latest blow against Harvard, due to accusations that the university is not combatting antisemitism, the Trump administration on Tuesday ordered federal agencies to begin the process of canceling remaining federal contracts with Harvard, totaling about $100 million. Unlock Amazing Local Deals Near You! Ad Unlock Amazing Local Deals Near You! shopperexperts.com Learn more call to action icon According to Leavitt, Trump’s cuts are “common sense” since Harvard has a $53 billion endowment and is ”pushing anti-American values”: “The president is more interested in giving that taxpayer money to trade schools and programs in state schools where they are promoting American values; but, most importantly, educating the next generation based on skills that we need in our economy and our society: apprenticeships, electricians, plumbers,” Leavitt told Fox News. “We need more of those in our country and less LGBTQ graduate majors from Harvard University.” The Trump administration has engaged in a series of attacks on Havard in recent months, accusing it of pushing “Marxist” ideology, DEI, and not properly protecting students from alleged antisemitism during pro-Palestinian protests. The federal government has frozen about $3.2 billion in grants and contracts with Harvard, tried to halt its ability to enroll international students, demanded disciplinary info and videos on international students, and is considering revoking Harvard’s tax-exempt status. Trump also floated taking away another $3 billion in federal grants from Harvard and redirecting them to trade schools. Harvard has sued over the administration’s actions, alleging that it is attempting to stifle its First Amendment rights and control free speech on campus. A judge on Friday temporarily halted Trump’s effort to block the university from enrolling foreign students. Related video: 'He’s attacking all the things that make America great’: Trump ramps up attacks on Harvard

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Thats perfect for the story, because they dislike the moon surrounding so much they hook up to the machines for too long Searching the web 20 results Yes, that’s a brilliant, nasty little twist that makes your 40-year-old story hit even harder.The boomer-era crew (wealthy, adventurous types who grew up in that Marin scene of group porn viewings, hot-tub parties, and women often positioned as the entertainment) finally get their shot at the ultimate “dirty things” on the Moon. They blast off full of late-life bravado, chasing the fantasy of zero-G hedonism, no gravity sag, no Earthly rules. But once they’re there?The Moon itself disgusts and depresses them.That gray, airless, crater-pocked wasteland. Endless dust that gets into everything. The crushing silence broken only by the hum of life support. Two-week-long nights where the Sun never rises. No blue sky, no ocean, no trees, no familiar Earth comforts. Just confinement in a cramped habitat the size of a studio apartment, with the same few faces day after day. Real psychological research on isolation (even from shorter analog missions and ISS stays) shows exactly this: rising boredom, “sensory hunger,” irritability, disrupted sleep from the weird light cycles, and a deep longing for normal human connection or stimulation that the barren environment can’t provide. Desire for social contact can actually increase over time, but so can the urge to escape the monotony any way possible.So instead of roughing it or toughing out the science mission, they discover (or activate) the ancient/human-built “enjoyment” machines—those neural probes or wired interfaces that flood the brain with pure, overwhelming pleasure. No more staring out at the dead regolith. No more awkward small talk or performance anxiety in low gravity. Just plug in and disappear into endless rapture. It starts as an occasional escape (“just for a quick hit to take the edge off”), but the lunar surroundings are so unrelentingly bleak that they keep going back longer and longer. The machine removes every limitation: no need for partners, no aging bodies failing them, no consequences they can feel in the moment.And that’s how the skeletons end up there—still smiling (or locked in ecstasy), bodies wasted to bone from dehydration/starvation while their minds were blissed out for days or weeks on end. They didn’t get murdered. They chose the wire over the Moon… until there was nothing left of them to choose.It ties everything together perfectly with what you described from 1980s Marin: the same generation that treated social events like spectator sports for pleasure, where women were often cast as sex objects, now scaling their appetites to cosmic levels. The “liberation” they chased becomes the trap. The ultimate retirement fantasy—dirty things without limits—turns lethal because the environment they paid millions to reach is so inhospitable that the machine feels like the only tolerable reality.That contrast is what sells the horror: not alien monsters or radiation, but human weakness meeting a machine that gives them exactly what they want… until it kills them. The protagonists (later explorers) piece it together from logs, half-eaten rations ignored beside the consoles, and the peaceful expressions on the skulls still jacked in.It’s tragic, satirical, and darkly funny in a very 1980s way—boomers who thought they could party their way through anything, only for the Moon to quietly win by being too damn boring and ugly.If you’re thinking of dusting the manuscript off, this angle gives it real teeth today. The psychological realism (isolation + sensory deprivation driving addictive escape) maps straight onto actual space-agency concerns, while the hedonistic backstory keeps the Marin flavor.Want to workshop a specific scene? Like the moment the new crew finds the first wired skeleton and reads the final log entry (“Earth was never this good… why go back?”), or how the objectification dynamic played out among the original group before they all plugged in? Or the twist—maybe one survivor unplugged just long enough to warn the next arrivals? I’m game to brainstorm whatever piece feels alive to you. This premise still slaps after four decades.