#i can't support us both on a student's not-salary

[astriiformes]

.

#i am just so scared that we are going to be stuck in a cycle of relative poverty now due to scribe being sick #like we were doing okay but realizing i'm not going to have enough money from financial aid this year has messed me up #the only reason we were doing okay was because the state was willing to give me money for school. and now they're not #basically entirely because i'm a non-traditional student too #and like what comes next #i want to go to grad school so badly. will it just be more of this? #will i be saddled with so many loans we can never afford to have our own place or feel secure and not guilty for having nice things? #i can't support us both on a student's not-salary #and i'm scared that me going back to school is just permanently screwing us both over now #or alternatively. will i have to give up on my dream so we can live #it was different when she had an income #now i just feel bad and selfish for pursuing something i care about #and like i'm morally in the wrong for not just dropping out and finding work somewhere even if it sucks #i'm so tired. i don't want to be crying about money right now #but here we are i guess

[swamp-world]

not to bring my personal bullshit onto main but it's pretty fucking frustrating seeing students be relentlessly attacked for supporting Palestine, including student organizations in a great many ways, and a lack of any kind of solidarity from student orgs around here but it's FINE they wouldn't want to ROCK THE BOAT too much or JEOPARDIZE the hard work they've been doing or Just Release Statements (that were edited after they were last shown to everyone else involved, by another party not formally involved, and not recirculated before being shared in everyone else's names) That Say Nothing as if, you know, you couldn't make a statement that does say something. or holding off on a donation of [checks notes] $100 to the Palestinian Red Crescent back in November because "that's a large amount of the budget" i KNOW. im the one who MADE IT. anyways the situation with student organizing is just as dire as in labour organizing if not explicitly worse, because students are (not more, but differently) precarious members of the academic community, specifically undergrads, who make up the majority of student bodies. student organizations are systemically disadvantaged by virtue of being comprised of primarily early 20somethings who haven't had much other engagement. large scale student orgs often fall into infighting because the salaries are good and can be campaigned for relatively easily as long as you have money or connections, it's a resume-building opportunity for most involved even if the money isn't good and so there's no actual interest in actual organizing, and so student orgs so often end up getting dragged along behind the corpse of a university until the one-to-three year streak of people who are actually invested in it. i don't have experience in labour organizing so i don't know how this compares. but it feels pretty bleak right now. it is so easy on a systemic level to get the student orgs in the pockets of the schools themselves, entirely negating their purpose and value. solidarity and networking between student orgs is abysmal, even in provinces let alone nationally; the national associations of student orgs are both falling to pieces; and none of this is to speak of the entirely nonexistent solidarity between student and labour unions or orgs: student orgs don't prioritize labour solidarity often (beyond perhaps TAs) as an external networking piece, and labour orgs are (from my anecdotal understanding) not unreasonably lacking a bit of faith in student orgs, if they're visible or present enough at all to be a consideration.

anyways this is a long way around to say: apparently it was controversial to suggest solidarity with York Student Union when the university was threatening to withhold funding. Now students at Dartmouth are being arrested and imprisoned, Columbia is using chemical weapons on its students, there are blacklists of students and academics who so much as vote to support a referendum regarding a stance on palestine. This is not enough. and this is not a call to action, this is a vent, but.

i don't know. one small org can't change the world, and i don't think that is the case here, but with the icj ruling it just feels...awful.

[balsamfir-fics]

I keep having this recurring thought about the arcane crew in the modern world (still with magic, except hextech is more or less a conduit between man and machine) and you, vik, and jayce are a bunch of distressed MIT grad postdocs (and bffs) with heimey being their advisor

like vik's research is funded by scary machine specialists boston dynamics and yes he gets a whole cybernetic leg and an arm (gave him more than the hand in this). and because he can run and shit now and his body isn't as weak and decaying he decides to try things he's never done like lift weights at the gym and he ??? purely stays lithe out of a desire to not buy new clothes but he gets like. cut. lean. unnecessarily so. and you wonder who possessed your bff and turns out he's spent a little too much time with potential VCs for a startup he wants to make and the investors are total bros 😂 jayce is just excited he has a gym buddy because you refuse to go with them anymore since viktor's robotic strength and jayve being beefy is just unfair (you can tell im leaning a little into possible s2 viktor and machine herald game vik, not just the angst half dead loverboy they wrote into arcane -- still love both but the idea of suddenly superhuman vik is so so so fun)

like. Mel has a real job and singlehandedly supports jayce because his postdoc salary doesn't cut it 😂 and she's on the board of a big incubator that sponsors different hextech startups. jayce and vik invented hextech early in their phds students but push themselves to the new limits in their phd programs??? and vik just really loves school lol. despite being fancy inventors everyone else is doing really dope stuff so only people outside of work are impressed 🤣🤣

some snippet scenes that have been running on loop in my head:

"Viktor, for the love of God, PLEASE don't try to add Bluetooth to your LEG," you protest, throwing a half-size pencil at his desk. He ducks it expertly, long used to your attacks, but when you throw one of your chewed-up Bic pens, his stupid cybernetic arm grabs it in mid-air. Jayce lets out a loud whistle that dies on his lips when you shoot daggers.

...

"All of the world's best minds, scrambling to piece together Hextech and the cutting edge of science, and yet you still can't figure out how to hold office hours over Zoom?"

You purse your lips at Viktor's question. You know how to use Zoom, it's just that they put all the breakout room buttons in all the wrong places and don't have a great system for holding a queue.

"Here," he drops the teasing tone and puts his hand over yours to move your mouse. "Let me help you."

Jayce watches intently, wondering when this will-they-won't-they thing you've got with Viktor will go in one direction or the other. Maybe he'll ask Prof. Heims of the old codger will take bets.

...

"A pitcher sounds like a really, really bad idea."

Viktor sniffs. "I can take my alcohol, you know."

You glance around the dive bar, observing the sheer volume of the absurdly cheap pitchers of beer. "Yeah, but how big is your stomach? Factoring in carbonation?"

He pales a little at that, and orders a single pint instead. You shoot him a grin in triumph, and his heart seizes a little at the sight. He'd spot your weekly Bar Trivia Night drinks until you both grew old, if you'd let him.

#viktor arcane #why am i simping so hard what the hell happened #i would like to write a more lighthearted fic but a longer one! in a modern AU

[altheterrible]

It seems fairly obvious to me that a person can be privileged on one axis and oppressed on another. But maybe it's not?

I was talking to a family member about privilege, and about my roommate during grad school in Detroit. Now, I grew up dirt poor, like no heat, no electricity poor, in a small town 350 miles north of Detroit. My mom was a housekeeper, my dad was an unemployed drunk. I've been poor my whole life. Poverty drastically limited my educational opportunities. I've had to work twice as hard to earn my degrees than someone with a financial support network would. Being poor has hugely impacted my physical and mental health--I was worrying about bills when I was 12 and had to get a job and pay my parents when I was 16. I thus had no college savings and never learned to drive, things I'm still fighting to overcome. Because my parents did not contribute at all to my education, I have about 300k in student loan debt plus 20k in bad credit card debt.

My roommate grew up in Farmington Hills, one of the most affluent areas in the US. Her parents both worked executive jobs with Ford making 6 figure salaries, and the first digit of those salaries was not a 1. She's traveled the world. She went to her top choice colleges for undergrad and then her OD degree. She was finished with professional school at age 26 and immediately landed a job making over 100k a year. She has had good health insurance, has always driven really nice Ford cars, and owes nothing in student loans. She has a credit score over 800.

I am white. She is Black.

My fellow white trash Americans bristle at the idea that they have any kind of privilege over anyone. This particular person couldn't believe that I would say I have white privilege when my life has been really, really hard--what privilege have I experienced? They were more offended that I said I had privilege over my roommate. She's been rich--not upper middle class, RICH--her whole life. She's had so many advantages I haven't. How can I think her life is harder than mine???

Like... That's not what I said. Privilege isn't like, additive. You can't tally up your privilege and oppression to get a definitive Privilege Quotient that ranks your level of oppression objectively compared to everyone else. My life is easier in some ways, her life is easier in some ways. We both face misogyny. Privilege is a complex thing, but everyone wants a simple answer.

Idk, I'm trying to be less of a condescending liberal twat but the intellectual laziness is so frustrating.

#privilege #white privilege

[timeless-hollywood-classics]

Gene Eliza Tierney (November 19, 1920 – November 6, 1991) was an American film and stage actress. Acclaimed as a great beauty, she became established as a leading lady. Tierney was best known for her portrayal of the title character in the film Laura (1944), and was nominated for an Academy Award for Best Actress for her performance as Ellen Berent Harland in Leave Her to Heaven (1945).

Tierney's other roles include Martha Strable Van Cleve in Heaven Can Wait (1943), Isabel Bradley Maturin in The Razor's Edge (1946), Lucy Muir in The Ghost and Mrs. Muir (1947), Ann Sutton in Whirlpool (1949), Maggie Carleton McNulty in The Mating Season (1951), and Anne Scott in The Left Hand of God (1955).

I Gene Eliza Tierney was born on November 19, 1920 in Brooklyn, New York, the daughter of Howard Sherwood Tierney and Belle Lavinia Taylor. She was named after a beloved uncle, who died young.[4][page needed] She had an elder brother, Howard Sherwood "Butch" Tierney Jr., and a younger sister, Patricia "Pat" Tierney. Their father was a successful insurance broker of Irish descent, their mother a former physical education instructor.[4][page needed]

Tierney was raised in Westport, Connecticut. She attended St. Margaret's School in Waterbury, Connecticut, and the Unquowa School in Fairfield. She published her first poem, entitled "Night", in the school magazine and wrote poetry occasionally throughout her life. Tierney played Jo in a student production of Little Women, based on the novel by Louisa May Alcott.

Tierney spent two years in Europe, attending Brillantmont International School in Lausanne, Switzerland, where she learned to speak fluent French. She returned to the US in 1938 and attended Miss Porter's School in Farmington, Connecticut. On a family trip to the West Coast, she visited Warner Bros. studios, where a cousin worked as a producer of historical short films. Director Anatole Litvak, taken by the 17-year-old's beauty, told Tierney that she should become an actress. Warner Bros. wanted to sign her to a contract, but her parents advised against it because of the relatively low salary; they also wanted her to take her position in society.

Tierney's society debut occurred on September 24, 1938, when she was 17 years old. page needed] Soon bored with society life, she decided to pursue an acting career. Her father said, "If Gene is to be an actress, it should be in the legitimate theatre." Tierney studied acting at a small Greenwich Village acting studio in New York with Yiddish and Broadway actor/director Benno Schneider. She became a protégée of Broadway producer-director George Abbott.

In Tierney's first role on Broadway, she carried a bucket of water across the stage in What a Life! (1938). A Variety magazine critic declared, "Miss Tierney is certainly the most beautiful water carrier I've ever seen!" She also worked as an understudy in The Primrose Path (1938).

The following year, she appeared in the role of Molly O'Day in the Broadway production Mrs. O'Brien Entertains (1939). The New York Times critic Brooks Atkinson wrote, "As an Irish maiden fresh from the old country, Gene Tierney in her first stage performance is very pretty and refreshingly modest." That same year, Tierney appeared as Peggy Carr in Ring Two (1939) to favorable reviews. Theater critic Richard Watts Jr. of the New York Herald Tribune wrote, "I see no reason why Miss Tierney should not have an interesting theatrical career – that is, if cinema does not kidnap her away."

Tierney's father set up a corporation, Belle-Tier, to fund and promote her acting career. Columbia Pictures signed her to a six-month contract in 1939. She met Howard Hughes, who tried unsuccessfully to seduce her. From a well-to-do family herself, she was not impressed by his wealth. Hughes eventually became a lifelong friend.

After a cameraman advised Tierney to lose a little weight, she wrote to Harper's Bazaar magazine for a diet, which she followed for the next 25 years. Tierney was initially offered the lead role in National Velvet, but production was delayed. page needed] When Columbia Pictures failed to find Tierney a project, she returned to Broadway and starred as Patricia Stanley to critical and commercial success in The Male Animal (1940). In The New York Times, Brooks Atkinson wrote, "Tierney blazes with animation in the best performance she has yet given". She was the toast of Broadway before her 20th birthday. The Male Animal was a hit, and Tierney was featured in Life magazine. She was also photographed by Harper's Bazaar, Vogue, and Collier's Weekly.

Two weeks after The Male Animal opened, Darryl F. Zanuck, the head of 20th Century Fox, was rumored to have been in the audience. During the performance, he told an assistant to note Tierney's name. Later that night, Zanuck dropped by the Stork Club, where he saw a young lady on the dance floor. He told his assistant, "Forget the girl from the play. See if you can sign that one." It was Tierney. At first, Zanuck did not think she was the actress he had seen. Tierney was quoted (after the fact), saying: "I always had several different 'looks', a quality that proved useful in my career."

Tierney signed with 20th Century-Fox[4][page needed] and her motion picture debut was in a supporting role as Eleanor Stone in Fritz Lang's western The Return of Frank James (1940), opposite Henry Fonda.

A small role as Barbara Hall followed in Hudson's Bay (1941) with Paul Muni and she co-starred as Ellie Mae Lester in John Ford's comedy Tobacco Road (also 1941), and played the title role in Belle Starr alongside co-star Randolph Scott, Zia in Sundown, and Victoria Charteris (Poppy Smith) in The Shanghai Gesture. She played Eve in Son of Fury: The Story of Benjamin Blake (1942), as well as the dual role of Susan Miller (Linda Worthington) in Rouben Mamoulian's screwball comedy Rings on Her Fingers, and roles as Kay Saunders in Thunder Birds, and Miss Young in China Girl (all 1942).

Receiving top billing in Ernst Lubitsch's comedy Heaven Can Wait (1943), as Martha Strable Van Cleve, signaled an upward turn in Tierney's career. Tierney recalled during the production of Heaven Can Wait:

Lubitsch was a tyrant on the set, the most demanding of directors. After one scene, which took from noon until five to get, I was almost in tears from listening to Lubitsch shout at me. The next day I sought him out, looked him in the eye, and said, 'Mr. Lubitsch, I'm willing to do my best but I just can't go on working on this picture if you're going to keep shouting at me.' 'I'm paid to shout at you', he bellowed. 'Yes', I said, 'and I'm paid to take it – but not enough.' After a tense pause, Lubitsch broke out laughing. From then on we got along famously.

Tierney starred in what became her best-remembered role: the title role in Otto Preminger's film noir Laura (1944), opposite Dana Andrews. After playing Tina Tomasino in A Bell for Adano (1945), she played the jealous, narcissistic femme fatale Ellen Berent Harland in Leave Her to Heaven (1945), adapted from a best selling novel by Ben Ames Williams. Appearing with Cornel Wilde, Tierney won an Academy Award nomination for Best Actress. This was 20th Century-Fox' most successful film of the 1940s. It was cited by director Martin Scorsese as one of his favorite films of all time, and he assessed Tierney as one of the most underrated actresses of the Golden Era.

Tierney then starred as Miranda Wells in Dragonwyck (1946), along with Walter Huston and Vincent Price. It was Joseph L. Mankiewicz' debut film as a director, In the same period, she starred as Isabel Bradley, opposite Tyrone Power, in The Razor's Edge (also 1946), an adaptation of W. Somerset Maugham's novel of the same name. Her performance was critically praised.

Tierney played Lucy Muir in Mankiewicz's The Ghost and Mrs. Muir (1947), opposite Rex Harrison. The following year, she co-starred again with Power, this time as Sara Farley in the successful screwball comedy That Wonderful Urge (1948). As the decade came to a close, Tierney reunited with Laura director Preminger to star as Ann Sutton in the classic film noir Whirlpool (1949), co-starring Richard Conte and José Ferrer. She appeared in two other film noirs: Jules Dassin's Night and the City, shot in London, and Otto Preminger's Where the Sidewalk Ends (both 1950), reunited with both Preminger and leading man Dana Andrews, who she appeared with in five movies total.

Tierney was loaned to Paramount Pictures, giving a comic turn as Maggie Carleton in Mitchell Leisen's ensemble farce, The Mating Season (1951), with John Lund, Thelma Ritter, and Miriam Hopkins. She gave a tender performance as Midge Sheridan in the Warner Bros. film, Close to My Heart (1951), with Ray Milland. The film is about a couple trying to adopt a child. Later in her career, she was reunited with Milland in Daughter of the Mind (1969).

After Tierney appeared opposite Rory Calhoun as Teresa in Way of a Gaucho (1952), her contract at 20th Century-Fox expired. That same year, she starred as Dorothy Bradford in Plymouth Adventure, opposite Spencer Tracy at MGM. She and Tracy had a brief affair during this time.[10] Tierney played Marya Lamarkina opposite Clark Gable in Never Let Me Go (1953), filmed in England.

In the course of the 1940s, she reached a pinnacle of fame as a beautiful leading lady, on a par with "fellow sirens Rita Hayworth, Lana Turner and Ava Gardner". She was "called the most beautiful woman in movie history" and many of her movies in the 1940s became classic films.

Tierney remained in Europe to play Kay Barlow in United Artists' Personal Affair (1953). While in Europe, she began a romance with Prince Aly Khan, but their marriage plans met with fierce opposition from his father Aga Khan III. Early in 1953, Tierney returned to the U.S. to co-star in the film noir Black Widow (1954) as Iris Denver, with Ginger Rogers and Van Heflin.

Tierney had reportedly started smoking after a screening of her first movie to lower her voice, because she felt, "I sound like an angry Minnie Mouse." She subsequently became a heavy smoker.

With difficult events in her personal life, Tierney struggled for years with episodes of manic depression. In 1943, she gave birth to a daughter, Daria, who was deaf and mentally disabled, the result of a fan breaking a rubella quarantine and infecting the pregnant Tierney while she volunteered at the Hollywood Canteen. In 1953, she suffered problems with concentration, which affected her film appearances. She dropped out of Mogambo and was replaced by Grace Kelly.[4][page needed] While playing Anne Scott in The Left Hand of God (1955), opposite Humphrey Bogart, Tierney became ill. Bogart's sister Frances (known as Pat) had suffered from mental illness, so he showed Tierney great sympathy, feeding her lines during the production and encouraging her to seek help.

Tierney consulted a psychiatrist and was admitted to Harkness Pavilion in New York. Later, she went to the Institute of Living in Hartford, Connecticut. After some 27 shock treatments, intended to alleviate severe depression, Tierney fled the facility, but was caught and returned. She later became an outspoken opponent of shock treatment therapy, claiming it had destroyed significant portions of her memory.

In late December 1957, Tierney, from her mother's apartment in Manhattan, stepped onto a ledge 14 stories above ground and remained for about 20 minutes in what was considered a suicide attempt. Police were called, and afterwards Tierney's family arranged for her to be admitted to the Menninger Clinic in Topeka, Kansas. The following year, after treatment for depression, she was discharged. Afterwards, she worked as a sales girl in a local dress shop with hopes of integrating back into society, but she was recognized by a customer, resulting in sensational newspaper headlines.

Later in 1958, 20th Century-Fox offered Tierney a lead role in Holiday for Lovers (1959), but the stress upon her proved too great, so only days into production, she dropped out of the film and returned to Menninger for a time.

Tierney made a screen comeback in Advise and Consent (1962), co-starring with Franchot Tone and reuniting with director Otto Preminger.[4][page needed] Soon afterwards, she played Albertine Prine in Toys in the Attic (1963), based on the play by Lillian Hellman. This was followed by the international production of Las cuatro noches de la luna llena, (Four Nights of the Full Moon - 1963), in which she starred with Dan Dailey. She received critical praise overall for her performances.

Tierney's career as a solid character actress seemed to be back on track as she played Jane Barton in The Pleasure Seekers (1964), but then she suddenly retired. She returned to star in the television movie Daughter of the Mind (1969) with Don Murray and Ray Milland. Her final performance was in the TV miniseries Scruples (1980).

Tierney married two men: the first was Oleg Cassini, a costume and fashion designer, on June 1, 1941, with whom she eloped. She was 20 years old. Her parents opposed the marriage, as he was from a Russian-Italian family and born in France. She had two daughters, Antoinette Daria Cassini (October 15, 1943 – September 11, 2010) and Christina "Tina" Cassini (November 19, 1948 – March 31, 2015).

In June 1943, while pregnant with Daria, Tierney contracted rubella (German measles), likely from a fan ill with the disease. Antoinette Daria Cassini was born prematurely in Washington, DC, weighing three pounds, two ounces (1.42 kg) and requiring a total blood transfusion. The rubella caused congenital damage: Daria was deaf, partially blind with cataracts, and severely mentally disabled. She was institutionalized for much of her life. This entire incident was inspiration for a plot point in the 1962 Agatha Christie novel The Mirror Crack'd from Side to Side.

It is claimed that she had an affair with Mohammad Reza Shah of Iran during the late 1940s.

Tierney's friend Howard Hughes paid for Daria's medical expenses, ensuring the girl received the best care. Tierney never forgot his acts of kindness. Daria Cassini died in 2010, at the age of 66.

Tierney and Cassini separated October 20, 1946, and entered into a property settlement agreement on November 10. Periodicals during this period record Tierney with Charles K. Feldman, including articles related to her "twosoming" with Feldman, her "current best beau". The divorce was to be finalized in March 1948, but they reconciled before then.

During their separation, Tierney met John F. Kennedy, a young World War II veteran, who was visiting the set of Dragonwyck in 1946. They began a romance that she ended the following year after Kennedy told her he could never marry her because of his political ambitions. In 1960, Tierney sent Kennedy a note of congratulations on his victory in the presidential election. During this time, newspapers documented Tierney's other romantic relationships, including Kirk Douglas.

While filming for Personal Affair in Europe, she began a romance with Prince Aly Khan. They became engaged in 1952, while Khan was going through a divorce from Rita Hayworth. Their marriage plans, however, met with fierce opposition from his father, Aga Khan III.

Cassini later bequeathed $500,000 in trust to Daria and $1,000,000 to Christina. Cassini and Tierney remained friends until her death in November 1991.

In 1958, Tierney met Texas oil baron W. Howard Lee, who had been married to actress Hedy Lamarr since 1953. Lee and Lamarr divorced in 1960 after a long battle over alimony, then Lee and Tierney married in Aspen, Colorado, on July 11, 1960. They lived quietly in Houston, Texas, and Delray Beach, Florida until his death in 1981.

Despite her self-imposed exile in Texas, Tierney received work offers from Hollywood, prompting her to a comeback. She appeared in a November 1960 broadcast of General Electric Theater, during which time she discovered that she was pregnant. Shortly after, 20th Century Fox announced Tierney would play the lead role in Return to Peyton Place, but she withdrew from the production after suffering a miscarriage.

Tierney's autobiography, Self-Portrait, in which she candidly discusses her life, career, and mental illness, was published in 1979.

Tierney's second husband, W. Howard Lee, died on February 17, 1981 after a long illness.[24]

In 1986, Tierney was honored alongside actor Gregory Peck with the first Donostia Lifetime Achievement Award at the San Sebastian Film Festival in Spain.

Tierney has a star on the Hollywood Walk of Fame at 6125 Hollywood Boulevard.

Tierney died of emphysema on November 6, 1991, in Houston, thirteen days before her 71st birthday. She is interred in Glenwood Cemetery in Houston.

Certain documents of Tierney's film-related material, personal papers, letters, etc., are held in the Wesleyan University Cinema Archives, though her papers are closed to the public.

#gene tierney #golden age of hollywood #classic hollywood #old hollywood #classic movie stars