#revenge — Public Fediverse posts

https://www.sinotheater.com/123255/ 【盲盒 Serendipity】EP01-EP24｜Revealing Hidden Hearts and the Drama of Redemption #AnthologySeries #BuGuanjin #DissociativeIdentityDisorder #PersonalGrowth #Revenge #SchoolViolence #Serendipity #SocialIssues #SunTianyu #TencentVideo #WeTv #WeTvChineseDrama #WeTvChineseDramaEngSub #WeTvDrama #wetv #WetvApp #WetvChina #WetvEnglish #YuWen #于雯 #人格分裂 #单元剧 #卜冠今 #复仇 #孙天宇 #心灵成长 #校园暴力 #盲盒 #社会话题 #騰訊視頻

Since getting started in 1989, Finland’s Archgoat have more than earned their place on the Mt. Rushmore of bestial blackened death metal (or “war metal,” for those like-minded fukks who spend too much time on Metal Archives and wear camo shorts to Best Buy). Helmed by twin brothers “Lord Angelslayer” (bass/vocals) and “Ritual Butcherer” (guitars), the group’s formula is simple yet effective: take rushing black metal riffs, add uber-deep growls, downtune the fukk out of the guitars, and throw in a lot of ritualistic, marching breaks that whip live audiences into a godless frenzy. For those who’ve never listened to them, imagine Beherit’s Drawing Down the Moon but more bludgeoning and blasphemous. Since returning from a decade-plus hiatus and releasing their long-awaited debut Whore of Bethlehem in 2006, the band’s albums have shown them honing that core sound while offering minor variations of it, with 2009’s The Light-Devouring Darkness veering closer to the more chaotic side of war metal and 2018’s The Luciferian Crown serving as a career high with its excellent variety and commanding production. Their last album, 2021’s Worship the Eternal Darkness, unfortunately felt a bit like the band was treading water after The Luciferian Crown, making me worried about how their sixth album, Nightbringer, Lightbringer, would fare.

Turns out those worries were for naught, as Nightbringer, Lightbringer shows Archgoat continuing to trample Christianity beneath their hooves with as much conviction as ever. After the requisite ambient intro, the title track blasts forth like a firestorm, scorching your pathetic little ears with stampeding double-bass runs, guttural pigfuck vocals, and pounding mid-paced riffs that force heads to be banged. With lots of pauses and tempo shifts, the track at times feels like it was blown up by a grenade and hastily reassembled, though the grunts of the track title (with dramatic pauses between each word) serve as a catchy anchor that holds everything together. Other than this song, the late-album track, “Reaper of Christianity,” comes the closest to the “classic” Archgoat formula, aside from the pianos that embellish that track’s marching riffs.

Those pianos, it turns out, aren’t the only experimental touches here, as this record shows Archgoat trying more new things than perhaps any other album in the band’s catalog. Several songs feature novel vocal approaches: the relentless assault of “Iconoclasm the Nazarene” has moments of higher-pitched screams that recall Revenge, while “Blood of Jesus Spilling Upon the Earth” employs bits of deep spoken word that might even be pitch-shifted. The latter song also uses passages of spacey, ringing chords that aren’t as powerful as the band’s trademark marching riffs, but are at least different. Perhaps the most notable moment, however, is in “Keys of Hell and Death,” whose epic conclusion is probably the most melodic minute of music the group has ever performed.

Overall, these new touches are welcome, though given how goddamn effective the band’s core sound is, I do wish the record offered a few more “traditional” Archgoat songs. The average tempos also feel slower than usual and, when combined with the heavy use of keyboards, create a sinister, ritualistic feel that may displease those looking for something with more raw bloodthirst. The only real misstep, however, is second proper track, “The Dawn to Armageddon.” The track itself is actually great, with hypnotic mid-paced riffing and keyboard embellishments that together make it sound a bit like old Samael. The problem is that its placement on the tracklist saps the album’s momentum early. Fortunately, songs like “The Light Behind the Horns” and the closing track, “Obsidian Reflection of Anti-Light,” are the perfect antidote, with punky energy and rampaging riffs that make it easy to bang your fukkin head (for the master in hell). Tracks like these are all the more powerful given the clear, full production that lets every layer shine through the darkness while retaining plenty of raw grit.

Apparently, Nightbringer, Lightbringer is about the end of Christianity and the beginning of a new Satanic dawn. The band supports this theme with as much conviction as ever while offering plenty of new embellishments, yet remaining wholly recognizable as the one and only Archgoat. In some ways, Lightbringer, Nightbringer is the epitome of the late-career dilemma: should a band continue doing the same thing or actually try new shit? For Archgoat, the answer is apparently a little bit of both, and the result is yet another Satanic stampede that’s sure to please war metal fans and anyone else looking for a blasphemous good time.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps
Label: Debemur Morti Productions
Websites: archgoat666.bandcamp.com | facebook.com/archgoat.official
Releases Worldwide: September 11th, 2026

Since getting started in 1989, Finland’s Archgoat have more than earned their place on the Mt. Rushmore of bestial blackened death metal (or “war metal,” for those like-minded fukks who spend too much time on Metal Archives and wear camo shorts to Best Buy). Helmed by twin brothers “Lord Angelslayer” (bass/vocals) and “Ritual Butcherer” (guitars), the group’s formula is simple yet effective: take rushing black metal riffs, add uber-deep growls, downtune the fukk out of the guitars, and throw in a lot of ritualistic, marching breaks that whip live audiences into a godless frenzy. For those who’ve never listened to them, imagine Beherit’s Drawing Down the Moon but more bludgeoning and blasphemous. Since returning from a decade-plus hiatus and releasing their long-awaited debut Whore of Bethlehem in 2006, the band’s albums have shown them honing that core sound while offering minor variations of it, with 2009’s The Light-Devouring Darkness veering closer to the more chaotic side of war metal and 2018’s The Luciferian Crown serving as a career high with its excellent variety and commanding production. Their last album, 2021’s Worship the Eternal Darkness, unfortunately felt a bit like the band was treading water after The Luciferian Crown, making me worried about how their sixth album, Nightbringer, Lightbringer, would fare.

Turns out those worries were for naught, as Nightbringer, Lightbringer shows Archgoat continuing to trample Christianity beneath their hooves with as much conviction as ever. After the requisite ambient intro, the title track blasts forth like a firestorm, scorching your pathetic little ears with stampeding double-bass runs, guttural pigfuck vocals, and pounding mid-paced riffs that force heads to be banged. With lots of pauses and tempo shifts, the track at times feels like it was blown up by a grenade and hastily reassembled, though the grunts of the track title (with dramatic pauses between each word) serve as a catchy anchor that holds everything together. Other than this song, the late-album track, “Reaper of Christianity,” comes the closest to the “classic” Archgoat formula, aside from the pianos that embellish that track’s marching riffs.

Those pianos, it turns out, aren’t the only experimental touches here, as this record shows Archgoat trying more new things than perhaps any other album in the band’s catalog. Several songs feature novel vocal approaches: the relentless assault of “Iconoclasm the Nazarene” has moments of higher-pitched screams that recall Revenge, while “Blood of Jesus Spilling Upon the Earth” employs bits of deep spoken word that might even be pitch-shifted. The latter song also uses passages of spacey, ringing chords that aren’t as powerful as the band’s trademark marching riffs, but are at least different. Perhaps the most notable moment, however, is in “Keys of Hell and Death,” whose epic conclusion is probably the most melodic minute of music the group has ever performed.

Overall, these new touches are welcome, though given how goddamn effective the band’s core sound is, I do wish the record offered a few more “traditional” Archgoat songs. The average tempos also feel slower than usual and, when combined with the heavy use of keyboards, create a sinister, ritualistic feel that may displease those looking for something with more raw bloodthirst. The only real misstep, however, is second proper track, “The Dawn to Armageddon.” The track itself is actually great, with hypnotic mid-paced riffing and keyboard embellishments that together make it sound a bit like old Samael. The problem is that its placement on the tracklist saps the album’s momentum early. Fortunately, songs like “The Light Behind the Horns” and the closing track, “Obsidian Reflection of Anti-Light,” are the perfect antidote, with punky energy and rampaging riffs that make it easy to bang your fukkin head (for the master in hell). Tracks like these are all the more powerful given the clear, full production that lets every layer shine through the darkness while retaining plenty of raw grit.

Apparently, Nightbringer, Lightbringer is about the end of Christianity and the beginning of a new Satanic dawn. The band supports this theme with as much conviction as ever while offering plenty of new embellishments, yet remaining wholly recognizable as the one and only Archgoat. In some ways, Lightbringer, Nightbringer is the epitome of the late-career dilemma: should a band continue doing the same thing or actually try new shit? For Archgoat, the answer is apparently a little bit of both, and the result is yet another Satanic stampede that’s sure to please war metal fans and anyone else looking for a blasphemous good time.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps
Label: Debemur Morti Productions
Websites: archgoat666.bandcamp.com | facebook.com/archgoat.official
Releases Worldwide: September 11th, 2026

Since getting started in 1989, Finland’s Archgoat have more than earned their place on the Mt. Rushmore of bestial blackened death metal (or “war metal,” for those like-minded fukks who spend too much time on Metal Archives and wear camo shorts to Best Buy). Helmed by twin brothers “Lord Angelslayer” (bass/vocals) and “Ritual Butcherer” (guitars), the group’s formula is simple yet effective: take rushing black metal riffs, add uber-deep growls, downtune the fukk out of the guitars, and throw in a lot of ritualistic, marching breaks that whip live audiences into a godless frenzy. For those who’ve never listened to them, imagine Beherit’s Drawing Down the Moon but more bludgeoning and blasphemous. Since returning from a decade-plus hiatus and releasing their long-awaited debut Whore of Bethlehem in 2006, the band’s albums have shown them honing that core sound while offering minor variations of it, with 2009’s The Light-Devouring Darkness veering closer to the more chaotic side of war metal and 2018’s The Luciferian Crown serving as a career high with its excellent variety and commanding production. Their last album, 2021’s Worship the Eternal Darkness, unfortunately felt a bit like the band was treading water after The Luciferian Crown, making me worried about how their sixth album, Nightbringer, Lightbringer, would fare.

Turns out those worries were for naught, as Nightbringer, Lightbringer shows Archgoat continuing to trample Christianity beneath their hooves with as much conviction as ever. After the requisite ambient intro, the title track blasts forth like a firestorm, scorching your pathetic little ears with stampeding double-bass runs, guttural pigfuck vocals, and pounding mid-paced riffs that force heads to be banged. With lots of pauses and tempo shifts, the track at times feels like it was blown up by a grenade and hastily reassembled, though the grunts of the track title (with dramatic pauses between each word) serve as a catchy anchor that holds everything together. Other than this song, the late-album track, “Reaper of Christianity,” comes the closest to the “classic” Archgoat formula, aside from the pianos that embellish that track’s marching riffs.

Those pianos, it turns out, aren’t the only experimental touches here, as this record shows Archgoat trying more new things than perhaps any other album in the band’s catalog. Several songs feature novel vocal approaches: the relentless assault of “Iconoclasm the Nazarene” has moments of higher-pitched screams that recall Revenge, while “Blood of Jesus Spilling Upon the Earth” employs bits of deep spoken word that might even be pitch-shifted. The latter song also uses passages of spacey, ringing chords that aren’t as powerful as the band’s trademark marching riffs, but are at least different. Perhaps the most notable moment, however, is in “Keys of Hell and Death,” whose epic conclusion is probably the most melodic minute of music the group has ever performed.

Overall, these new touches are welcome, though given how goddamn effective the band’s core sound is, I do wish the record offered a few more “traditional” Archgoat songs. The average tempos also feel slower than usual and, when combined with the heavy use of keyboards, create a sinister, ritualistic feel that may displease those looking for something with more raw bloodthirst. The only real misstep, however, is second proper track, “The Dawn to Armageddon.” The track itself is actually great, with hypnotic mid-paced riffing and keyboard embellishments that together make it sound a bit like old Samael. The problem is that its placement on the tracklist saps the album’s momentum early. Fortunately, songs like “The Light Behind the Horns” and the closing track, “Obsidian Reflection of Anti-Light,” are the perfect antidote, with punky energy and rampaging riffs that make it easy to bang your fukkin head (for the master in hell). Tracks like these are all the more powerful given the clear, full production that lets every layer shine through the darkness while retaining plenty of raw grit.

Apparently, Nightbringer, Lightbringer is about the end of Christianity and the beginning of a new Satanic dawn. The band supports this theme with as much conviction as ever while offering plenty of new embellishments, yet remaining wholly recognizable as the one and only Archgoat. In some ways, Lightbringer, Nightbringer is the epitome of the late-career dilemma: should a band continue doing the same thing or actually try new shit? For Archgoat, the answer is apparently a little bit of both, and the result is yet another Satanic stampede that’s sure to please war metal fans and anyone else looking for a blasphemous good time.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps
Label: Debemur Morti Productions
Websites: archgoat666.bandcamp.com | facebook.com/archgoat.official
Releases Worldwide: September 11th, 2026

Since getting started in 1989, Finland’s Archgoat have more than earned their place on the Mt. Rushmore of bestial blackened death metal (or “war metal,” for those like-minded fukks who spend too much time on Metal Archives and wear camo shorts to Best Buy). Helmed by twin brothers “Lord Angelslayer” (bass/vocals) and “Ritual Butcherer” (guitars), the group’s formula is simple yet effective: take rushing black metal riffs, add uber-deep growls, downtune the fukk out of the guitars, and throw in a lot of ritualistic, marching breaks that whip live audiences into a godless frenzy. For those who’ve never listened to them, imagine Beherit’s Drawing Down the Moon but more bludgeoning and blasphemous. Since returning from a decade-plus hiatus and releasing their long-awaited debut Whore of Bethlehem in 2006, the band’s albums have shown them honing that core sound while offering minor variations of it, with 2009’s The Light-Devouring Darkness veering closer to the more chaotic side of war metal and 2018’s The Luciferian Crown serving as a career high with its excellent variety and commanding production. Their last album, 2021’s Worship the Eternal Darkness, unfortunately felt a bit like the band was treading water after The Luciferian Crown, making me worried about how their sixth album, Nightbringer, Lightbringer, would fare.

Turns out those worries were for naught, as Nightbringer, Lightbringer shows Archgoat continuing to trample Christianity beneath their hooves with as much conviction as ever. After the requisite ambient intro, the title track blasts forth like a firestorm, scorching your pathetic little ears with stampeding double-bass runs, guttural pigfuck vocals, and pounding mid-paced riffs that force heads to be banged. With lots of pauses and tempo shifts, the track at times feels like it was blown up by a grenade and hastily reassembled, though the grunts of the track title (with dramatic pauses between each word) serve as a catchy anchor that holds everything together. Other than this song, the late-album track, “Reaper of Christianity,” comes the closest to the “classic” Archgoat formula, aside from the pianos that embellish that track’s marching riffs.

Those pianos, it turns out, aren’t the only experimental touches here, as this record shows Archgoat trying more new things than perhaps any other album in the band’s catalog. Several songs feature novel vocal approaches: the relentless assault of “Iconoclasm the Nazarene” has moments of higher-pitched screams that recall Revenge, while “Blood of Jesus Spilling Upon the Earth” employs bits of deep spoken word that might even be pitch-shifted. The latter song also uses passages of spacey, ringing chords that aren’t as powerful as the band’s trademark marching riffs, but are at least different. Perhaps the most notable moment, however, is in “Keys of Hell and Death,” whose epic conclusion is probably the most melodic minute of music the group has ever performed.

Overall, these new touches are welcome, though given how goddamn effective the band’s core sound is, I do wish the record offered a few more “traditional” Archgoat songs. The average tempos also feel slower than usual and, when combined with the heavy use of keyboards, create a sinister, ritualistic feel that may displease those looking for something with more raw bloodthirst. The only real misstep, however, is second proper track, “The Dawn to Armageddon.” The track itself is actually great, with hypnotic mid-paced riffing and keyboard embellishments that together make it sound a bit like old Samael. The problem is that its placement on the tracklist saps the album’s momentum early. Fortunately, songs like “The Light Behind the Horns” and the closing track, “Obsidian Reflection of Anti-Light,” are the perfect antidote, with punky energy and rampaging riffs that make it easy to bang your fukkin head (for the master in hell). Tracks like these are all the more powerful given the clear, full production that lets every layer shine through the darkness while retaining plenty of raw grit.

Apparently, Nightbringer, Lightbringer is about the end of Christianity and the beginning of a new Satanic dawn. The band supports this theme with as much conviction as ever while offering plenty of new embellishments, yet remaining wholly recognizable as the one and only Archgoat. In some ways, Lightbringer, Nightbringer is the epitome of the late-career dilemma: should a band continue doing the same thing or actually try new shit? For Archgoat, the answer is apparently a little bit of both, and the result is yet another Satanic stampede that’s sure to please war metal fans and anyone else looking for a blasphemous good time.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps
Label: Debemur Morti Productions
Websites: archgoat666.bandcamp.com | facebook.com/archgoat.official
Releases Worldwide: September 11th, 2026

Since getting started in 1989, Finland’s Archgoat have more than earned their place on the Mt. Rushmore of bestial blackened death metal (or “war metal,” for those like-minded fukks who spend too much time on Metal Archives and wear camo shorts to Best Buy). Helmed by twin brothers “Lord Angelslayer” (bass/vocals) and “Ritual Butcherer” (guitars), the group’s formula is simple yet effective: take rushing black metal riffs, add uber-deep growls, downtune the fukk out of the guitars, and throw in a lot of ritualistic, marching breaks that whip live audiences into a godless frenzy. For those who’ve never listened to them, imagine Beherit’s Drawing Down the Moon but more bludgeoning and blasphemous. Since returning from a decade-plus hiatus and releasing their long-awaited debut Whore of Bethlehem in 2006, the band’s albums have shown them honing that core sound while offering minor variations of it, with 2009’s The Light-Devouring Darkness veering closer to the more chaotic side of war metal and 2018’s The Luciferian Crown serving as a career high with its excellent variety and commanding production. Their last album, 2021’s Worship the Eternal Darkness, unfortunately felt a bit like the band was treading water after The Luciferian Crown, making me worried about how their sixth album, Nightbringer, Lightbringer, would fare.

Turns out those worries were for naught, as Nightbringer, Lightbringer shows Archgoat continuing to trample Christianity beneath their hooves with as much conviction as ever. After the requisite ambient intro, the title track blasts forth like a firestorm, scorching your pathetic little ears with stampeding double-bass runs, guttural pigfuck vocals, and pounding mid-paced riffs that force heads to be banged. With lots of pauses and tempo shifts, the track at times feels like it was blown up by a grenade and hastily reassembled, though the grunts of the track title (with dramatic pauses between each word) serve as a catchy anchor that holds everything together. Other than this song, the late-album track, “Reaper of Christianity,” comes the closest to the “classic” Archgoat formula, aside from the pianos that embellish that track’s marching riffs.

Those pianos, it turns out, aren’t the only experimental touches here, as this record shows Archgoat trying more new things than perhaps any other album in the band’s catalog. Several songs feature novel vocal approaches: the relentless assault of “Iconoclasm the Nazarene” has moments of higher-pitched screams that recall Revenge, while “Blood of Jesus Spilling Upon the Earth” employs bits of deep spoken word that might even be pitch-shifted. The latter song also uses passages of spacey, ringing chords that aren’t as powerful as the band’s trademark marching riffs, but are at least different. Perhaps the most notable moment, however, is in “Keys of Hell and Death,” whose epic conclusion is probably the most melodic minute of music the group has ever performed.

Overall, these new touches are welcome, though given how goddamn effective the band’s core sound is, I do wish the record offered a few more “traditional” Archgoat songs. The average tempos also feel slower than usual and, when combined with the heavy use of keyboards, create a sinister, ritualistic feel that may displease those looking for something with more raw bloodthirst. The only real misstep, however, is second proper track, “The Dawn to Armageddon.” The track itself is actually great, with hypnotic mid-paced riffing and keyboard embellishments that together make it sound a bit like old Samael. The problem is that its placement on the tracklist saps the album’s momentum early. Fortunately, songs like “The Light Behind the Horns” and the closing track, “Obsidian Reflection of Anti-Light,” are the perfect antidote, with punky energy and rampaging riffs that make it easy to bang your fukkin head (for the master in hell). Tracks like these are all the more powerful given the clear, full production that lets every layer shine through the darkness while retaining plenty of raw grit.

Apparently, Nightbringer, Lightbringer is about the end of Christianity and the beginning of a new Satanic dawn. The band supports this theme with as much conviction as ever while offering plenty of new embellishments, yet remaining wholly recognizable as the one and only Archgoat. In some ways, Lightbringer, Nightbringer is the epitome of the late-career dilemma: should a band continue doing the same thing or actually try new shit? For Archgoat, the answer is apparently a little bit of both, and the result is yet another Satanic stampede that’s sure to please war metal fans and anyone else looking for a blasphemous good time.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps
Label: Debemur Morti Productions
Websites: archgoat666.bandcamp.com | facebook.com/archgoat.official
Releases Worldwide: September 11th, 2026

American History X?
American Psycho?

AMERICAN SWEATSHOP

Den habe ich im Kino wohl verpasst. Sieht sehr spannend aus! Kommt jetzt in die Zweitverwertung

Trailer German Deutsch (2026)
https://www.youtube.com/watch?v=Rttav8RTZy4

#americanSweatshop #americanhistoryx #americanpsycho #film #movie #socialmedia #snuff #revenge #Moderation #clickwork #kiko #dvd #bluray #streaming #Zweitverwertung

Nosso destino em queda

Nosso destino em queda

Olhe esta geração da vingança.
Leia os sinais que vêm do mundo.
Mostre os delírios.
Assusta-me saber que acham normal
ver os delírios.
Observe: nada disso é normal.

Carlos de Campos 

Avalie isto:

#animatedseries #animated #animation #toon #cartoon #disney #danaterrace #ai #generativeart #generativeai #genai #owlhouse #disneyplus #clarification #criticism #piracy #protest #revenge #manager #art #american

“I mean if you’re not willing to risk an FBI investigation, is it even really revenge?”

https://library.hrmtc.com/2025/05/06/i-mean-if-youre-not-willing-to-risk-an-fbi-investigation-is-it-even-really-revenge/

#AdolescentsBisexuelsRomansNouvellesEtcPourLaJeunesse #Allies #AllyshipJuvenileFiction #AmitiéFéminineRomansNouvellesEtcPourLaJeunesse #AmoursRomansNouvellesEtcPourLaJeunesse #AsianAmericanQueerPeople #BeckyAlbertalli #BisexualCharacters #BisexualFiction #BisexualPeopleJuvenileFiction #BisexualRomanceFiction #BisexualTeenagers #BisexualTeenagersJuvenileFiction #Bisexuals #BlackQueerPeople #book #CampusFiction #CollegeStudents #CollegeStudentsFiction #CollegeStudentsJuvenileFiction #DatingSocialCustoms_ #DatingSocialCustomsFiction #DatingSocialCustomsJuvenileFiction #ÉlèvesDuSecondaireRomansNouvellesEtcPourLaJeunesse #ÉtudiantsRomansNouvellesEtcPourLaJeunesse #FBIInvestigation #FemaleFriendship #FemaleFriendshipFiction #FemaleFriendshipJuvenileFiction #fiction #FriendshipFiction #FriendshipJuvenileFiction #HighSchoolStudents #HighSchoolStudentsFiction #HighSchoolStudentsJuvenileFiction #IMean #IdentitéPsychologieRomansNouvellesEtcPourLaJeunesse #IdentityPsychology_ #IdentityPsychologyJuvenileFiction #if #isItEven #JewishLesbians #juvenileWorks #LatinoAXLGBTQPeople #LesbianCharacters #LesbianFiction #LesbianRomanceFiction #Lesbians #LesbiansFiction #LesbiansJuvenileFiction #LesbiennesRoman #LGBTQCharacters #LGBTQRelationships #LGBTQYouth #LGBTQYouthLiterature #NonBinaryPeople #notWilling #nouvellesEtcPourLaJeunesse #Novels #OrientationSexuelleRomansNouvellesEtcPourLaJeunesse #PansexualPeople #PersonnesBisexuellesRomansNouvellesEtcPourLaJeunesse #QueerCharacters #QueerFiction #QueerYouth #QueerYouthLiterature #quote #really #revenge #risk #RomanPourJeunesAdultes #romance #RomanceFiction #romans #RomansLesbiens #SexualOrientation #SexualOrientationFiction #SexualOrientationJuvenileFiction #TeenYoungAdultContemporaryRomance #TeenYoungAdultFriendshipFiction #TeenYoungAdultRomanticComedy #TeensYAPopularFiction #TeensYARomance #WhiteBisexualPeople #YAFiction #YoungAdultFiction #YoungAdultFictionRomanceContemporary #YoungAdultFictionRomanceRomanticComedy #YoungAdultFictionSocialThemesFriendship #YoungAdultWorks

“I mean if you’re not willing to risk an FBI investigation, is it even really revenge?”

https://library.hrmtc.com/2025/05/06/i-mean-if-youre-not-willing-to-risk-an-fbi-investigation-is-it-even-really-revenge/

#AdolescentsBisexuelsRomansNouvellesEtcPourLaJeunesse #Allies #AllyshipJuvenileFiction #AmitiéFéminineRomansNouvellesEtcPourLaJeunesse #AmoursRomansNouvellesEtcPourLaJeunesse #AsianAmericanQueerPeople #BeckyAlbertalli #BisexualCharacters #BisexualFiction #BisexualPeopleJuvenileFiction #BisexualRomanceFiction #BisexualTeenagers #BisexualTeenagersJuvenileFiction #Bisexuals #BlackQueerPeople #book #CampusFiction #CollegeStudents #CollegeStudentsFiction #CollegeStudentsJuvenileFiction #DatingSocialCustoms_ #DatingSocialCustomsFiction #DatingSocialCustomsJuvenileFiction #ÉlèvesDuSecondaireRomansNouvellesEtcPourLaJeunesse #ÉtudiantsRomansNouvellesEtcPourLaJeunesse #FBIInvestigation #FemaleFriendship #FemaleFriendshipFiction #FemaleFriendshipJuvenileFiction #fiction #FriendshipFiction #FriendshipJuvenileFiction #HighSchoolStudents #HighSchoolStudentsFiction #HighSchoolStudentsJuvenileFiction #IMean #IdentitéPsychologieRomansNouvellesEtcPourLaJeunesse #IdentityPsychology_ #IdentityPsychologyJuvenileFiction #if #isItEven #JewishLesbians #juvenileWorks #LatinoAXLGBTQPeople #LesbianCharacters #LesbianFiction #LesbianRomanceFiction #Lesbians #LesbiansFiction #LesbiansJuvenileFiction #LesbiennesRoman #LGBTQCharacters #LGBTQRelationships #LGBTQYouth #LGBTQYouthLiterature #NonBinaryPeople #notWilling #nouvellesEtcPourLaJeunesse #Novels #OrientationSexuelleRomansNouvellesEtcPourLaJeunesse #PansexualPeople #PersonnesBisexuellesRomansNouvellesEtcPourLaJeunesse #QueerCharacters #QueerFiction #QueerYouth #QueerYouthLiterature #quote #really #revenge #risk #RomanPourJeunesAdultes #romance #RomanceFiction #romans #RomansLesbiens #SexualOrientation #SexualOrientationFiction #SexualOrientationJuvenileFiction #TeenYoungAdultContemporaryRomance #TeenYoungAdultFriendshipFiction #TeenYoungAdultRomanticComedy #TeensYAPopularFiction #TeensYARomance #WhiteBisexualPeople #YAFiction #YoungAdultFiction #YoungAdultFictionRomanceContemporary #YoungAdultFictionRomanceRomanticComedy #YoungAdultFictionSocialThemesFriendship #YoungAdultWorks

“I mean if you’re not willing to risk an FBI investigation, is it even really revenge?”

https://library.hrmtc.com/2025/05/06/i-mean-if-youre-not-willing-to-risk-an-fbi-investigation-is-it-even-really-revenge/

#AdolescentsBisexuelsRomansNouvellesEtcPourLaJeunesse #Allies #AllyshipJuvenileFiction #AmitiéFéminineRomansNouvellesEtcPourLaJeunesse #AmoursRomansNouvellesEtcPourLaJeunesse #AsianAmericanQueerPeople #BeckyAlbertalli #BisexualCharacters #BisexualFiction #BisexualPeopleJuvenileFiction #BisexualRomanceFiction #BisexualTeenagers #BisexualTeenagersJuvenileFiction #Bisexuals #BlackQueerPeople #book #CampusFiction #CollegeStudents #CollegeStudentsFiction #CollegeStudentsJuvenileFiction #DatingSocialCustoms_ #DatingSocialCustomsFiction #DatingSocialCustomsJuvenileFiction #ÉlèvesDuSecondaireRomansNouvellesEtcPourLaJeunesse #ÉtudiantsRomansNouvellesEtcPourLaJeunesse #FBIInvestigation #FemaleFriendship #FemaleFriendshipFiction #FemaleFriendshipJuvenileFiction #fiction #FriendshipFiction #FriendshipJuvenileFiction #HighSchoolStudents #HighSchoolStudentsFiction #HighSchoolStudentsJuvenileFiction #IMean #IdentitéPsychologieRomansNouvellesEtcPourLaJeunesse #IdentityPsychology_ #IdentityPsychologyJuvenileFiction #if #isItEven #JewishLesbians #juvenileWorks #LatinoAXLGBTQPeople #LesbianCharacters #LesbianFiction #LesbianRomanceFiction #Lesbians #LesbiansFiction #LesbiansJuvenileFiction #LesbiennesRoman #LGBTQCharacters #LGBTQRelationships #LGBTQYouth #LGBTQYouthLiterature #NonBinaryPeople #notWilling #nouvellesEtcPourLaJeunesse #Novels #OrientationSexuelleRomansNouvellesEtcPourLaJeunesse #PansexualPeople #PersonnesBisexuellesRomansNouvellesEtcPourLaJeunesse #QueerCharacters #QueerFiction #QueerYouth #QueerYouthLiterature #quote #really #revenge #risk #RomanPourJeunesAdultes #romance #RomanceFiction #romans #RomansLesbiens #SexualOrientation #SexualOrientationFiction #SexualOrientationJuvenileFiction #TeenYoungAdultContemporaryRomance #TeenYoungAdultFriendshipFiction #TeenYoungAdultRomanticComedy #TeensYAPopularFiction #TeensYARomance #WhiteBisexualPeople #YAFiction #YoungAdultFiction #YoungAdultFictionRomanceContemporary #YoungAdultFictionRomanceRomanticComedy #YoungAdultFictionSocialThemesFriendship #YoungAdultWorks

"This is someone who is #unstable, obsessed w/ #revenge, consumed w/ #grievance & out for unchecked #power. Donald #Trump has spent a decade trying to keep the American people #divided & #afraid of each other," #KamalaHarris said criticizing Trump for his "#EnemyWithin" language.
Pivoting to her promise to Americans, she pledged "to seek #CommonGround & #CommonSense solutions to make your lives better. I am not looking to score political points. I am looking to make #progress."

#HarrisWalz2024

"Israeli atrocities are nothing new. The only novelty is the scale"

Joseph Massad: https://www.middleeasteye.net/opinion/israeli-atrocities-are-nothing-new-only-novelty-scale

#trauma #PTSD #genocide #fragility #blameTheVictim #victimhood #Zionism #israel #Gaza #JewishSupremacy #supremacy #raceMaking #believe #history #Gaza #IDF #military #army #OngoingNakba #revenge #retribution #war #warOnGaza #israelGaza #israelGazaWar #ethnicCleansing #warCrimes #PalestinianLivesMatter #genocide #counterTerrorism #stateTerrorism #GazaGenocide #StopArmingIsrael #CeasefireNow #StopFundingIsrael #DefundIsrael

[…]

"Thousands of children were killed? It’s the enemy’s fault. Our own children were killed? That is certainly the enemy’s fault. If Hamas carry out a massacre in a kibbutz, they are Nazis. If we drop 2,000-pound bombs on refugee shelters and kill hundreds of civilians, it’s Hamas’s fault for hiding close to these shelters. After what they did to us, we have no choice but to root them out. After what we did to them, we can only imagine what they would do to us if we don’t destroy them. We simply have no choice."

Omer Bartov: https://www.theguardian.com/world/article/2024/aug/13/israel-gaza-historian-omer-bartov

#trauma #PTSD #genocide #fragility #blameTheVictim #victimhood #Zionism #israel #Gaza #JewishSupremacy #supremacy #raceMaking #believe #OmerBartov #GazaWar #warOnGaza #IDF #military #army #OngoingNakba #revenge #retribution #war #warOnGaza #israelGaza #israelGazaWar #ethnicCleansing #warCrimes #PalestinianLivesMatter #genocide #counterTerrorism #stateTerrorism #GazaGenocide #StopArmingIsrael #CeasefireNow #StopFundingIsrael #DefundIsrael