Countless tear gas and rubber bullets have caused injuries of protesters in a series of confrontation between Hongkongers and the police since 12 June this year. Dr. Alfred Wong Yam-hong raised his concerns about the high number of demonstrators looking for medical assistance through their organization’s hotline. It has already reached the demand as of a small-scale hospital. Those who are in need would rather seek help from them instead of a public hospital because they are afraid of being prosecuted. The white terror shows how serious the humanitarian crisis is in Hong Kong.
One of the two hotlines is to provide assistance to people injured physically. Surgeries are required for some of them. Médecins Inspirés has arranged the treatments accordingly and the cases are kept confidential. “Private hospitals had contacted the police before, while the authorities did arrest some patients in public hospitals. They are intimidated to see a family doctor either. They are left with no choice but to call us for help” said Dr. Wong.
He also pointed out that a small number of injured persons under arrest were beaten by the police in a police vehicle or at the police station. After being released on bail, these injured persons had to ask for a third-party doctor's examination as a record, as an evidence in civil lawsuits against the police in the future.
The other hotline is to offer emotional support. Many protesters are in low mood and might even fall apart. They are in lack of assistance from the community and afraid of consulting a doctor in either public or private hospitals.
Dr. Wong did not disclose the exact figures but described the number of patients they are looking after is close to the capacity of a small-scale hospital. The actual number of injuries in the social movement must be greater than the ones annouced by the government.
The ‘Underground Emergency Services’ which is organized by a group of passionate medical personel is now under great pressure as well. The humanitarian crisis in Hong Kong is physically invisible when compared to war zones with tanks and military road blocks. International humanitarian organizations would set up temporary hospitals that are accessible for the patients. Yet, the terrifying emotions and atmosphere in this society and hospitals now are the intangible obstacles which stops them from seeking medical help.
Hong Kong’s public health situation is generally affected. Tear gas was fired in a confined metro station a
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This is a fairly famous quote, but I think it perfectly describes why this season's surprises have been so unsatisfying.
>“There is a distinct difference between 'suspense' and 'surprise,' and yet many pictures continually confuse the two. I'll explain what I mean.We are now having a very innocent little chat. Let's suppose that there is a bomb underneath this table between us. Nothing happens, and then all of a sudden, 'Boom!' There is an explosion. The public is surprised, but prior to this surprise, it has seen an absolutely ordinary scene, of no special consequence. Now, let us take a suspense situation. The bomb is underneath the table and the public knows it, probably because they have seen the anarchist place it there. The public is aware the bomb is going to explode at one o'clock and there is a clock in the decor. The public can see that it is a quarter to one. In these conditions, the same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: 'You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!'In the first case we have given the public fifteen seconds of surprise at the moment of the explosion. In the second we have provided them with fifteen minutes of suspense. The conclusion is that whenever possible the public must be informed. Except when the surprise is a twist, that is, when the unexpected ending is, in itself, the highlight of the story.”
I think total surprise can obviously be a useful tool in certain situations. But with plot points as big as a dragon dying or the Night King dying, it would have been so much more impactful if D&D had employed suspense, in addition to surprise. If we had seen Euron's fleet waiting for Dany, we would have been on the edge of our seats, screaming at Dany to look out. Obviously there were other issues with some of these scenes, but I think Hitchcock nails this one.
Next Door: No.
https://i.imgur.com/FCTvJLC.jpg
The Love Song of J. Alfred Prufrock (T.S. Eliot)
S’io credesse che mia risposta fosse
A persona che mai tornasse al mondo,
Questa fiamma staria senza piu scosse.
Ma percioche giammai di questo fondo
Non torno vivo alcun, s’i’odo il vero,
Senza tema d’infamia ti rispondo.
Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherized upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells:
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question ...
Oh, do not ask, “What is it?”
Let us go and make our visit.
In the room the women come and go
Talking of Michelangelo.
The yellow fog that rubs its back upon the window-panes,
The yellow smoke that rubs its muzzle on the window-panes,
Licked its tongue into the corners of the evening,
Lingered upon the pools that stand in drains,
Let fall upon its back the soot that falls from chimneys,
Slipped by the terrace, made a sudden leap,
And seeing that it was a soft October night,
Curled once about the house, and fell asleep.
And indeed there will be time
For the yellow smoke that slides along the street,
Rubbing its back upon the window-panes;
There will be time, there will be time
To prepare a face to meet the faces that you meet;
There will be time to murder and create,
And time for all the works and days of hands
That lift and drop a question on your plate;
Time for you and time for me,
And time yet for a hundred indecisions,
And for a hundred visions and revisions,
Before the taking of a toast and tea.
In the room the women come and go
Talking of Michelangelo.
And indeed there will be time
To wonder, “Do I dare?” and, “Do I dare?”
Time to turn back and descend the stair,
With a bald spot in the middle of my hair —
(They will say: “How his hair is growing thin!”)
My morning coat, my collar mounting firmly to the chin,
My necktie rich and modest, but asserted by a simple pin —
(They will say: “But how his arms and legs are thin!”)
Do I dare
Disturb the universe?
In a minute there is time
For decisions and revisions which a minute will reverse.
For I have known them all already, known them all:
Have known the evenings, mornings, afternoons,
I have measured out my life with coffee spoons;
I know the voices dying with a dying fall.
Beneath the music fro
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"849, was born Alfred, king of the Anglo-Saxons, at the royal village of Wanating, in Berkshire, which country has its name from the wood of Berroc, where the box-tree grows most abundantly. His genealogy is traced in the following order. King Alfred was the son of king Ethelwulf, who was the son of Egbert, who was the son of Elmund, was the son of Eafa, who was the son of Eoppa, who the son of Ingild. Ingild, and Ina, the famous king of the West-Saxons, were two brothers. Ina went to Rome, and there ending this life honourably, entered the heavenly kingdom, to reign there for ever with Christ. Ingild and Ina were the sons of Coenred, who was the son of Ceolwald, who was the son of Cudam, who was the son of Cuthwin, who was the son of Ceawlin, who was the son of Cynric, who was the son of Creoda, who was the son of Cerdic, who was the son of Elesa, who was the son of Gewis, from whom the Britons name all that nation Gegwis, who was the son of Brond, who was the son of Beldeg, who was the son of Woden,"
----- Asser's 'Life of King Alfred'
(NB: "Woden" is the Anglo-Saxon name for Odin, for those who didn't know).
Just posted this because I thought its interesting how Alfred claimed to be directly decended from Odin, just as all the pagan Anglo-Saxon kings did. Thought I'd see if anyone has any thoughts or knowledge on this subject?
I have heard some people suggest that even late Catholic Anglo-Saxon kings still held on to a significant amount of pagan views and beliefs. Almost as if, although they were definitely pious Catholics, they weren't quite "Christian" in the way the continent were or how we would understand it. There was still a prevalent pagan belief system amongst them.
We know some of the first Christian Anglo-Saxon kings seemed to be a mix of Catholicism and paganism: eg King Rædwald of East Anglia was reported to have converted to Catholicism but still had personal pagan temples.
Other kings such as Æthelberht of Kent also could have converted for trade or power.
When you look into Bede's writing and the Anglo-Saxon conversions it really does seem very muddled and mixed: not at all like other conversions on the continent. For example there are times of kings being either pagan or Christian but their spouse being the opposite religion. There are also examples of paganism coming back supposedly after they converted. (To get a very rough, basic idea see: https://en.m.wikipedia.org/wiki/
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