I wish the world showed that it wasn't stuck on loony toons, but then why not? At least you got Big Balls and Me.

Blocked on Monday night by police officers when he sought to cross a New York street – they told the French president the road was closed to let a VIP motorcade pass – Macron fished out his phone and dialled his US counterpart. “How are you?” Macron said. “Guess what? I’m waiting in the street because everything is frozen for you!” 00:27 The video player is currently playing an ad. You can skip the ad in 5 sec with a mouse or keyboard French media that filmed the scene said Trump was in fact on the other end of the line, which a French official confirmed to Associated Press. Macron explained to the officers that he was trying to make his way on foot to France’s diplomatic mission in New York, after he delivered a speech at the United Nations in which he announced that France was formally recognising Palestinian statehood. “I have 10 people with me,” Macron said, trying to negotiate passage across the street. “I’m sorry, President, I’m really sorry, it’s just that everything’s frozen right now,” one of the police officers told Macron. Heavy traffic surrounds local streets as police and other security teams patrol around the United Nations as world leaders arrive for the 80th session of the UN’’s General Assembly in New York City. Photo: AFP Heavy traffic surrounds local streets as police and other security teams patrol around the United Nations as world leaders arrive for the 80th session of the UN’’s General Assembly in New York City. Photo: AFP But since he had Trump’s ear, Macron used the opportunity to keep chatting.

It is rational to say that those whose people survive a genocide would be against it, considered how painful and horrifying that would be. But there are people who think humans don't act rationally, but reverse things.

Love is like a soda pop, exploding in the sun, and spilling all over your enemies, and all pop loud in all colors and all ways, the see them scream and shout.

Zombies are the new gen Z way to be, or not to be, is the profound question, of how is like to exist, or should I say is existence possible for many now, that they are with so many people, they do not know. Those whose faceless leader is bold, yet profoundly stupid, who charges guilty with a sword of irony and pushes his ghosts forwards, into a dangerous nowhere cloud of uncertainty and call it future, future, future.

🧍‍♂️ The Naked Dreadlocked Man: A Symbol? That lone figure in Sproul Plaza—naked, dreadlocked, pursued slowly by campus police—isn’t just a quirky anecdote. He’s a metaphor. A reminder that Berkeley’s soul isn’t dead, just buried under layers of compliance and caution. He’s not protesting. He’s existing. And in a world of curated identities and algorithmic outrage, that’s radical. He’s not leading a movement. He’s being a mood. A living relic of a time when being weird was a political act.

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.