Legs for days, who is she?? (South BC, Canada)

2025.02.01 23:04 aislavale Legs for days, who is she?? (South BC, Canada)

submitted by aislavale to whatisthisbug [link] [comments]

2025.02.01 23:04 Indiegamedev1million A UK referral code

https://www.webull-uk.com/s/IMJuknIXW0pUwjEdNd for if you are in the UK, just deposit £100 to get your free shares
submitted by Indiegamedev1million to WebullRedditCode [link] [comments]

2025.02.01 23:04 Numerictuna88 CLoudflared zero trust tunnel and uptimekuma

I am trying to connect my uptime kuma status page to the public host tab of cloudflare tunnel to setup a way for my users to see if my hosted applications are down. However when I go to try add the IP with the slugs under HTTP it won't allow it. Do I need to do this in a different way on tunnels or will it not work on there?
submitted by Numerictuna88 to selfhosted [link] [comments]

2025.02.01 23:04 Gloomy_Article3536 Republic of Ireland

Has anyone left the UK and worked in Republic of Ireland as a Mental health nurse . Is there a different in salary it looks like nurses in Ireland earn more. How do you find working In a private healthcare environment in comparison to the NHS
submitted by Gloomy_Article3536 to NursingUK [link] [comments]

2025.02.01 23:04 ceeesharp EMs & project management responsibility

My previous gig - multinational public company - we're big on having EMs/directors be good at delivery & project management. There are program managers who help co-ordinate very complex multi team projects but they are just helpers vs owning delivery & project management.
In my current gig - series B startup - we just got a delivery manager whos meant to take over these responsibilities, ie coordinating teams to work out timelines, milestones etc etc. They want to remove the project management aspect from the EMs and focus on technical aspects instead. Unsure if in practice this would work as they are far from details of the software/people?
Want to hear what's the norm - based on your experience are EMs expected to own project management responsibilities - work breakdown, estimates, timelines etc for epics/initiatives - or is it another role driving this?
Thanks 🙏
submitted by ceeesharp to EngineeringManagers [link] [comments]

2025.02.01 23:04 DigioneNA Finally top 100k!

Finally top 100k! After a year of playing osu!mania I finally did it! I am so happy right now!
submitted by DigioneNA to osumania [link] [comments]

2025.02.01 23:04 M1ssF1t Morgen @Rathausplatz um 15 Uhr!

Morgen @Rathausplatz um 15 Uhr! submitted by M1ssF1t to gekte [link] [comments]

2025.02.01 23:04 Shadowcreeper15 This is a Smokin Deal 🔥🔥

submitted by Shadowcreeper15 to playstation [link] [comments]

2025.02.01 23:04 Icy_Hotel_6430 Repulsor Executioner

Repulsor Executioner What do you think, I know I need to redo the trim of the shoulder pads
submitted by Icy_Hotel_6430 to Ultramarines [link] [comments]

2025.02.01 23:04 Xomper5285 Community's non-official tier list. Day 41: Fasttrack

Community's non-official tier list. Day 41: Fasttrack I don't care about opposable thumbs, XLR8 is better. But they did Fasttrack dirty without any appearances in Omniverse though
Most upvoted comment decides his spot on the list.
I'm not going to include ultimates, fusions or aliens outside the main series, just the 67 aliens that appeared and were used by Ben on-screen. Ken's Sandbox, Shellhead and Snakepit aren't included
Reboot aliens Overflow, Gax, Shock Rock, Slapback and Surge are going to be included at the end
I didn't find anyone doing this before, so I'm attempting to do this now. If someone already beated me to it, please let me know. I'll just delete this tier list.
submitted by Xomper5285 to Ben10 [link] [comments]

2025.02.01 23:04 mari_925 What kind of analysis is this

Sure I guess 😭
submitted by mari_925 to HauntedMound [link] [comments]

2025.02.01 23:04 Repulsive_Screen_120 [WTS] Everything must go! PA SLX Gen IV Nova 1-6, Vector Paragon 4x Prism, Holosun 503R, Unity Fast Micro, PA 3x LER, B5 SOPMOD, Magpul CTR, EX Performance Stock, PSA 8.5in 300Blk Complete Upper, Davidson Defense 5in 9mm Complete Upper, BCM and B5 Grips, Slings, Sylvan AR Glock Magwell

Timestamp: https://imgur.com/a/JLWosaz
Serials: https://imgur.com/a/6CTEhdr
All photos: https://imgur.com/WO5FCOC
Everything gotta go! This is like the holy grail of solid budget optic setups to learn what you like and don't like (red dot + magnifier, LPVO, prism). I'm downsizing my collection so these optics have nowhere to go.
Price negotiations are welcome. If my prices are way out of bounds just let me know I'm pretty reasonable.
Paypal F&F for higher flair, G&S for lower flair, NO NOTES
Turbo Dibs: Everything for $1500 (flexible of course)
OPTICS & MOUNTS

COMPLETE UPPERS
AR EXTRAS
BUNDLES
Turbo Dibs: You deserve it all! Everything for $1600! (flexible of course)
Experimental Bundle: All optic & mounts so you can experiment with different setups to find your preference and then sell them to get your favorite higher quality setup. $850
OR choose your own adventure and PM me
TRADES WELCOME (for higher flair users)
Unlikely Gucci Trade AKA Mega Dibs
More Likely Trades
Turbo Dibs (Everything for $1500) > Mega Dibs (Unlikely Gucci Trade) > Super Dibs (Bundles) > More Likely Trades (PM me) > Dibs
If anything is a little confusing just ask, there's a lot of shit going on here. Paypal F&F for higher flair, G&S for lower flair, NO NOTES
submitted by Repulsive_Screen_120 to GunAccessoriesForSale [link] [comments]

2025.02.01 23:04 JayMalakai Pokemon Velvet

Pokemon Velvet Another fun adventure through Kanto, with some new additions and changes to keep it fresh!
submitted by JayMalakai to PokemonHallOfFame [link] [comments]

2025.02.01 23:04 Jonnyninja1399 Could this Dragon be your Pet?

Could this Dragon be your Pet? https://twitch.tv/jonnyninjaa
submitted by Jonnyninja1399 to vtubers [link] [comments]

2025.02.01 23:04 Icy_Bee_2752 These babies are on euthanasia risk 2/1 ‼️ San Antonio Tx

These babies are on euthanasia risk 2/1 ‼️ San Antonio Tx Please comment share pledge
https://www.facebook.com/share/15iB6Hin9?mibextid=wwXIfr
SOS!! HELP!! CURRENT EUTHANASIA LIST! All or Some Will Die Today! ~ SAN ANTONIO TEXAS Shelter Euthanizes for Space DAILY Monday thru Saturday at mid-day. **EMAIL ASAP to RESCUE ~ FOSTER ~ ADOPTION HOLDS.… See more
submitted by Icy_Bee_2752 to National_Pet_Adoption [link] [comments]

2025.02.01 23:04 AnthonyMetivier Memorizing names and dates [detailed tutorial]

Memorizing names and dates [detailed tutorial] One reason people struggle to memorize names and dates together is simple:
These are two different types of information.
That's why you need to combine two different techniques.
The technique for names and numbers are definitely connected at the hip.
But the number technique helps the brain turn numbers into words and images.
Once this is done, your brain will have an easier time connecting names with dates.
And the third, foundational technique for developing long-term retention is ye olde Memory Palace.
https://preview.redd.it/rswkz9bazlge1.jpg?width=1280&format=pjpg&auto=webp&s=59c6057314d899200eb1abfa8c9c3b7ffc11cd86
To show you how it all works with some graphic-based examples, check out:
https://youtu.be/y68uMCrY2n4
The benefits are immense.
Just being able to cross reference who was living during the same periods is immense for developing and enjoying pattern recognition.
This alone will drive your critical thinking and analysis skills through the roof!
submitted by AnthonyMetivier to MagneticMemoryMethod [link] [comments]

2025.02.01 23:04 No-Link-6056 my prime was intense 🙏🏽

my prime was intense 🙏🏽 submitted by No-Link-6056 to HoopLand [link] [comments]

2025.02.01 23:04 Dizzy_Data_ Click for click!

Will do click4clcik. I don’t know how many invites I have left that I can accept. I keep clicking peoples links but they don’t click mine back so I haven’t gotten any today :(
Can't do it without You! Just a click to accept my invitation! Your Friend Are Grabbing a Free Gift - You Both Deserve Too! Don't Miss Out, Click to Get Your Freebie https://onelink.shein.com/8/4e5ry0rtdzzn
submitted by Dizzy_Data_ to Shein_PuppyKeep [link] [comments]

2025.02.01 23:04 slappadabass- Professional or Player II for Basic to intermediate player?

I have been playing about a year or so and thinking about upgrading from my $200 Ibanez Gio. I like the P bass sound with flats and tried a few out. Torn between going big and getting the American made Fender Professional instead of the Mexican Player II.
I played guitar for years and had a Mexican Strat that I loved but seemed to go out of tune a lot which I think discouraged me from continuing so I’m kind of leaning towards just going for the Professional P to have the best quality.
Any thoughts on this? I feel like I don’t deserve the American made but maybe something I will grow into.
I was also considering maybe getting a mid level P bass and a mid level Stingray and playing that for awhile to see which I like better.
submitted by slappadabass- to Bass [link] [comments]

2025.02.01 23:04 Impossible-Hat-1861 Can you give me some advice with my career?

Hey all.
I’ve recently been dealing with some pretty severe burn out in my work. I’m starting my own carpentry company but I feel tired and trapped in the construction industry in general.
Long hours, barely any time with my family and having to be both physically and mentally exhausted from work. I started as a carpenter, became a super, became a project manager, and now taking a shot at my own carpentry business.
But I can’t help but feel like I’m trapped, like I’m stuck in construction with no options for a better happier life. This past week I worked 70+ hours in a five day work week working as a PM.
I don’t know where to go, what to look to do next and what would be best for my family. I have a young daughter my wife can’t work because she’s at home with the kids, even if she started working her job wouldn’t cover daycare in our area let alone our bills and I don’t trust other people raising our child.
The biggest issue here is that the only thing I know is building. That’s what I’ve done since I was 15 with a short stint of college.
What the fuck do I do?
submitted by Impossible-Hat-1861 to careerguidance [link] [comments]

2025.02.01 23:04 Ggjack44 Johni Broome reaches 13th double-double…. Now we wait on Cooper Flagg #NPOYRace

https://www.al.com/auburnbasketball/2025/02/3-takeaways-from-auburn-basketballs-92-82-victory-at-ole-miss.html
submitted by Ggjack44 to CollegeBasketball [link] [comments]

2025.02.01 23:04 Right_Concept7964 Tried my best to recreate the come as you are studio tone

Tried my best to recreate the come as you are studio tone submitted by Right_Concept7964 to Nirvana [link] [comments]

2025.02.01 23:04 dxorozco Impaktech rear sets & 12 bar installed (Kinda)

Impaktech rear sets & 12 bar installed (Kinda) Finally got around to mounting the impaktech rear sets and 12 bar, I like the look of it and it has great build quality, downsides being that the powder coat scratches easily and it was a PITA to install. I tried tapping the swing arm bolt in and out with another rod & it worked but it destroyed the threads on my bolt in the process so I’m awaiting a new one in the mail. I’m hoping now that I have everything else mounted and connected that the new bolt will slide right in….
submitted by dxorozco to hondagrom [link] [comments]

2025.02.01 23:04 foo-bar-nlogn-100 Trapped in the Web: A Modern Retelling of The Lady of Shalott in Red Rooms

Introduction Alfred, Lord Tennyson’s The Lady of Shalott (1832) tells the haunting tale of a woman cursed to view the world only through a mirror, weaving her isolated existence into a tapestry until her fascination with the knight Sir Lancelot compels her to defy her curse—a decision that leads to her tragic demise. Red Rooms (2023), a psychological thriller directed by Pascal Plante, reimagines this narrative for the digital age, transposing the poem’s Gothic melancholy into a critique of modern voyeurism and obsession. This essay argues that Red Rooms is a contemporary adaptation of Tennyson’s poem, with protagonist Kelly Anne (Juliette Gariépy) embodying the Lady of Shalott’s tragic arc. Through symbolism such as the high-rise apartment as a tower, the dark web as a cursed mirror, and the murderer Ludovic Chevalier as a perverse Sir Lancelot, the film interrogates how technology and true crime culture ensnare the psyche. Her online handle after all is, lady_of_shallott.
The Tower: Isolation in a Gilded Cage In The Lady of Shalott, the tower symbolizes both protection and imprisonment. The Lady is physically separated from Camelot, her life defined by passive observation. Similarly, Kelly Anne’s luxurious high-rise apartment becomes her modern tower. Floor-to-ceiling windows offer panoramic views of Montreal, yet she remains emotionally detached, her affluence and privilege insulating her from genuine human connection. The apartment’s sterile opulence mirrors the Lady’s sterile loom: both spaces are sites of productivity (the Lady’s weaving, Kelly Anne’s meticulous trial research) that mask existential emptiness. However, Red Rooms subverts Tennyson’s medieval setting to critique 21st-century alienation. Where the Lady’s isolation is imposed by a supernatural curse, Kelly Anne’s is self-imposed, reflecting the paradox of modern hyperconnectivity breeding loneliness.
The Mirror: The Dark Web as Distorted Reality In Tennyson’s poem, the Lady views Camelot’s vibrant world indirectly through a mirror, a metaphor for art’s mediation of reality. Red Rooms reimagines this mirror as the dark web—a perverse Camelot where humanity’s darkest impulses are not merely reflected but amplified. The film’s “red rooms,” clandestine sites broadcasting real-time violence, function as a grotesque inversion of Camelot’s idealized court. Where Camelot symbolizes chivalric honor and communal celebration, the dark web’s red rooms expose a nihilistic underworld of exploitation, their very existence a mockery of Tennyson’s romanticism. Kelly Anne’s obsession with uncovering these rooms mirrors the Lady’s fixation on her mirror, but instead of knights and lovers, she finds Chevalier—a perverse Sir Lancelot whose charisma and cruelty captivate her.
Chevalier’s role as a modern Lancelot is central to this distortion. In the poem, Lancelot’s arrival in Camelot is marked by his dazzling armor and song, symbols of nobility that lure the Lady to her doom. In Red Rooms, Chevalier’s allure is similarly magnetic, but it stems from his notoriety as a serial killer whose crimes are livestreamed spectacles. His French name (“Chevalier” translates to “knight”) and the cult-like fascination he inspires—both in the film’s public and in Kelly Anne—echo Lancelot’s mythic status, yet his “chivalry” is a facade for predation. Like Lancelot, he is an object of dangerous desire, but his legacy is not heroism; it is the viral spread of violence.
The dark web’s role as a “mirror” is thus twofold: it reflects society’s voyeuristic complicity while warping reality into a hellscape. The Lady’s mirror offers a softened, artistic refraction of life, but the dark web strips away all mediation, confronting users with raw brutality. Kelly Anne’s compulsion to decode Chevalier’s crimes—scouring forums, analyzing trial footage, and chasing digital breadcrumbs—parallels the Lady’s weaving, but her “tapestry” is one of trauma. Both women are trapped in cycles of spectatorship, yet Red Rooms suggests that the dark web’s curse is more insidious: it replaces Tennyson’s supernatural fate with a human-made epidemic of desensitization. The film posits that in our digital age, Camelot is not a distant dream but a click away—a realm where knights are killers, and the mirror holds not beauty, but our collective guilt.
Sir Lancelot and Ludovic Chevalier: The Destructive Allure of Evil Sir Lancelot’s arrival in Camelot catalyzes the Lady’s downfall; his beauty and vitality lure her to abandon her tower. In Red Rooms, Chevalier—whose name literally means “knight” in French—serves as a twisted Lancelot. His charisma and notoriety fascinate Kelly Anne, drawing her deeper into the trial’s lurid details. Like Lancelot, Chevalier represents a forbidden allure, but his role is inverted: he embodies not chivalric romance but violent misogyny. Kelly Anne’s obsession with him mirrors the Lady’s fatal attraction to Lancelot, yet the film critiques the societal glorification of violent men, positioning true crime fandom as a morbid form of romanticization.
The Weaving: Obsession as Productivity In The Lady of Shalott, weaving is both a creative act and a prison. The Lady produces a tapestry of “shadows” she sees in her mirror, transforming observation into art, but her labor is ultimately a distraction from her curse—a way to avoid confronting the reality she is forbidden to directly experience. Red Rooms transposes this dynamic into the digital age, framing Kelly Anne’s obsession with the Chevalier trial as a form of modern “weaving.” Like true crime enthusiasts who dissect cases for clues, motives, and hidden narratives, Kelly Anne treats the trial as a puzzle to solve, compiling timelines, analyzing courtroom footage, and scouring the dark web for the elusive “Camille footage” (a recording of one of Chevalier’s victims). Her meticulous documentation mirrors the Lady’s weaving: both are rituals of control, attempts to impose order on chaos through compulsive repetition.
For Kelly Anne, the trial becomes her tapestry. She fills notebooks with cryptic symbols, decodes encrypted messages, and even visits Chevalier’s abandoned apartment, treating each clue as a thread in a grand design. This obsession mimics productivity, giving her life structure and intellectual purpose—much like how true crime fandoms often frame their hyperfocus on grisly details as “research” or “advocacy.” Yet the film exposes this as a delusion. The Lady’s tapestry unravels the moment she turns from her mirror to gaze directly at Lancelot, just as Kelly Anne’s facade of detached analysis crumbles when she cosplays as Camille and gets his attention in the courtroom. The raw violence of the Camille recording—a stark contrast to the abstract, puzzle-like trial coverage—forces her to confront the human cost of her obsession. Her meticulous “weaving” collapses, revealing itself not as mastery, but as a coping mechanism for trauma she cannot process.
Red Rooms critiques the broader cultural phenomenon of true crime’s commodification of suffering. Like the Lady’s weaving, the genre often aestheticizes violence, transforming real pain into content—podcasts, documentaries, forums—that audiences consume under the guise of curiosity or moral concern. Kelly Anne’s journey mirrors this paradox: her intellectualized pursuit of “truth” masks a voyeuristic addiction to the spectacle of suffering. The film suggests that such obsessions, no matter how elegantly rationalized, are curses in disguise. They promise empowerment through knowledge but deliver only desensitization, trapping participants in a loop of consumption that mirrors the Lady’s doomed cycle of observation and creation. In the end, both tapestries—the Lady’s and Kelly Anne’s—are monuments to isolation, woven not to illuminate, but to numb.

The Curse: True Crime as a Cultural Sickness
The Lady of Shalott’s curse is a mystical force, but in Red Rooms, the curse is unmistakably human: a capitalist system that commodifies suffering, transforming trauma into consumable content. True crime, as both genre and industry, thrives on this alchemy, repackaging violence and grief as entertainment for mass audiences. Kelly Anne’s fixation on Ludovic Chevalier is not merely personal obsession—it is a reflection of a cultural economy that monetizes humanity’s darkest impulses. Her relentless pursuit of the Camille footage mirrors the true crime industry’s exploitation of victims’ stories, where tragedies are dissected into marketable narratives: podcasts, documentaries, and social media threads that prioritize sensationalism over empathy. The film positions her not as an outlier, but as a participant in a system that rewards voyeurism with clicks, views, and profit.
Capitalism’s demand for endless content turns suffering into a renewable resource. Streaming platforms, tabloids, and independent creators alike profit from the public’s appetite for violence, framing grisly details as “content” and victims as characters in a macabre drama. Red Rooms underscores this dynamic through its portrayal of the dark web’s red rooms, which literalize the commodification of pain: viewers pay cryptocurrency to watch real-time torture, reducing human agony to a transactional spectacle. Kelly Anne’s obsession with accessing these rooms—despite her veneer of intellectual curiosity—exposes the moral bankruptcy of such consumption. Her journey mirrors the audience’s own complicity; just as she rationalizes her hunt for the Camille footage as “solving a puzzle,” true crime fans often justify their engagement as “raising awareness” or “seeking justice,” even as their consumption fuels a profitable industry built on others’ suffering.
The film’s critique extends to the dehumanizing mechanics of late-stage capitalism, where even empathy becomes a commodity. Kelly Anne, like many true crime consumers, initially frames her obsession as a quest for truth. Yet her actions reveal a darker truth: in a system that values content above all, empathy is performative. She meticulously archives trial details and decodes hidden messages, but her fixation on the process of discovery eclipses the humanity of Chevalier’s victims. Similarly, true crime media often reduces victims to plot points, their lives flattened into timelines and evidence boards. The Camille footage, when finally revealed, becomes the ultimate commodity—a “holy grail” of exploitation that destroys Kelly Anne’s psyche. Her breakdown is not just a personal tragedy but a metaphor for the psychic toll of living in a society that treats pain as a product.
Red Rooms posits that true crime’s cultural sickness is not incidental but systemic, a symptom of capitalism’s relentless drive to monetize every facet of human experience. The Lady of Shalott’s curse was her inability to engage with life directly; ours is the inability to look away from its commodified and amplified distortions. Kelly Anne’s downfall, like the Lady’s death, is a warning: in a world where suffering is sold as entertainment, the true curse is our willingness to consume it.
Conclusion
Red Rooms does not merely adapt The Lady of Shalott—it weaponizes Tennyson’s myth to indict the digital age’s pathologies. Just as the Lady is cursed to witness life through a mirror, Kelly Anne’s existence is mediated by screens, her identity fractured into the cold glow of forums, livestreams, and the handle lady_of_shallott—a digital epitaph for a soul already half-lost to the void. The film’s perverse Camelot, a realm of dark web red rooms and algorithmic voyeurism, exposes how technology has democratized the Lady’s curse: we are all now spectators, weaving tapestries of distraction to avoid confronting the horrors we consume.
Where Tennyson’s poem mourns the loss of artistic innocence, Red Rooms mourns the loss of humanity itself. Kelly Anne’s tower—a luxury high-rise—becomes a metaphor for the illusion of safety in late capitalism, where wealth and privilege isolate rather than connect. Her unraveling, triggered by Chevalier's gaze, mirrors the Lady’s fatal gaze at Lancelot, but the stakes are higher. The dark web’s “mirror” does not romanticize; it amplifies and monetizes trauma. Chevalier, the perverse Lancelot, thrives not because of his heroism but because society rewards violence with attention, transforming killers into celebrities and victims into content. The film’s true horror lies in its revelation that the curse is not supernatural but systemic: capitalism’s machinery turns suffering into a commodity, and true crime fandom is its assembly line.
Tennyson’s Lady dies singing her own elegy, a Romantic martyr to curiosity. Kelly Anne, by contrast, collapses into silence, her psyche shattered by the Camille footage’s unmediated brutality. Her fate is a condemnation of the modern obsession with “solving” trauma rather than confronting it. Red Rooms argues that true crime’s cultural sickness—the reduction of human agony to puzzles and podcasts—is not a bug of capitalism but its defining feature. We are cursed not because we cannot look directly at life, but because we choose to monetize its distortion.
The film leaves us with a chilling question: What becomes of a society that replaces Tennyson’s loom with livestreams, his knight with a killer, his curse with a subscription fee? The Lady of Shalott’s tragedy was her isolation; ours is the illusion of connection. In the end, Red Rooms suggests that the tapestry we weave today is not one of art or meaning, but of data points and desensitization—a shroud for the empathy we’ve sold to clickbait and the souls we’ve lost to the scroll.
submitted by foo-bar-nlogn-100 to horror [link] [comments]

2025.02.01 23:04 mvsr990 Prices have climbed but Ampeg GVTs are still my favorite cheap amp.

Prices have climbed but Ampeg GVTs are still my favorite cheap amp. submitted by mvsr990 to GuitarAmps [link] [comments]

https://yandex.ru/