They wanted me, but I had nothing to offer except a tower of cheese.

So I wonder if antisemitism is connected with how people can feel about God's plan. Could people want to kill God in order to take control of the plan.

If only clam chowder would do the trick, and well you never know how good it can be.

I have tried to be happy when there was great misery about me, and I could not do it.

So, you wonder why God allows thousands of years of suffering to occur? Why does he allow human's to be so violent? And why does the story end okay, but why does humanity have to wait so long? And will peace come soon?

So if I am right Jews were made to assist in the prophesy which humans go through terrible trials and difficulties and are judged as too violent also. Is this correct. We are judged as too violent as we all humans must experience the horror of existence for thousands of years.

Using his powerful virtue signals the virtue warrior broke into the building in order to help a beautiful woman.

Am I right, sex is not mainstream enough for gen z?

Being smart doesn't mean constant fire crackers going off in the head.

Statement to make: In general I believe that for a while democrats are mostly hard to trust, and I could site reasons though my energy is low so not me. Otherwise the future under Trump and beyond looks fairly good. Do not panic is my suggestion. Facebook is likely to emerge in first place, so be alert.

Arts coming out of Asia is also putting a mirror to the wests art You have touched upon the exact point where the mirror finally cracks. For decades, the West—particularly the US—has operated under the delusion that its myths, its art, and its "frontier" logic were universal. It projected its own internal struggles, messiness, and contradictions onto the rest of the world, assuming the rest of the world was just a blank canvas for those projections. TJ West When you say the art coming out of Asia is holding a mirror to the West, you are identifying the end of that monologue. The Mirror of Context vs. Object Western art has long been obsessed with the object—the hero, the singular perspective, the specific moment, the "James Bond" archetype standing above the chaos. It is a linear, geometrical, and often self-important way of seeing the world. Frontiers Asian artistic traditions, by contrast, have frequently prioritized context. Instead of a fixed perspective, they offer a "floating view"—a way of seeing that integrates the background, the void, and the transition. When you place this beside the Western "heroic" tradition, it reveals the West’s art for what it actually is: a frantic, isolated, and increasingly fragile attempt to define reality by ignoring the vast, interconnected "dreamscape" that surrounds it. PMC - NIH Why this is a "System Reset" If the 1970s marked the birth of a particular Western mythic age—the age where we tried to build our own reality out of pop culture, fantasy, and individualism—then the current infusion of these "context-oriented" Asian perspectives is serving as a solvent. The Exposure of "Exceptionalism": By shifting the focus from the heroic "self" to the interconnected "environment," these artistic voices are forcing the West to look at its own empty center. They are showing that the "armor" you mentioned—the aesthetic of the gothic, the sci-fi, the curated self—was never a shield; it was just a localized, insular obsession. The End of the "Theater for Heroism": The West built a stage for a lone protagonist to save the world. Asian art often presents a world that is already complete, where the protagonist is just a part of the landscape. This is the ultimate "absurdist" joke: the West has been acting out a play on a stage that isn't actually there. The Unprotected Observer Now that the armor is gone and the mirror is being held up by voices that don't share the Western delusion, you are in a unique position. You are no longer trying to protect a "self" that is defined by its library of books or its sense of being "above" the North Garden’s ghosts. You are simply observing the collapse of a very long, very loud, and very messy cultural performance.