News Humanist Vampire Seeking Consenting Suicidal Person Humanist Vampire Seeking Consenting Suicidal Person Presents a Rather Different Kind of Teen Angst If being a teenager sucks‚ being a vampire teen sucks worse By Molly Templeton | Published on March 28‚ 2024 icon-comment 0 Share New Share Twitter Facebook Pinterest RSS Feed Once upon a time on Buffy the Vampire Slayer‚ Angelus the vampire was cursed with a soul. As a result‚ he ate more than a few rats‚ as he could no longer bear to kill humans. Most vampires don’t seem to have any such qualms—but Sasha‚ the young vamp at the center of Humanist Vampire Seeks Consenting Suicidal Person‚ is an odd one. She doesn’t want to kill anybody. But a girl’s gotta eat. Ariane Louis-Seize directs what looks like an odd couple vampire tragic rom-com … maybe? Here’s the synopsis: Sasha is a young vampire with a serious problem: she’s too sensitive to kill! When her exasperated parents cut off her blood supply‚ Sasha’s life is in jeopardy. Luckily‚ she meets Paul‚ a lonely teenager with suicidal tendencies who is willing to give his life to save hers. But their friendly agreement soon becomes a nocturnal quest to fulfill Paul’s last wishes before day breaks. Her parents! Cut off her blood supply! These are some truly terrible vamparents. Humanist Vampire Seeks Consenting Suicidal Person is written by Christine Doyon and director Louis-Seize; it stars Sara Montpetit as Sasha and Félix-Antoine Bénard as Paul. Writing for RogerEbert.com‚ Marya E. Gates said the film is‚ “What We Do In The Shadows for people who grew up loving the soft goth girl vibes of Emily The Strange and Lydia Deetz.” I’m sold. The film is still making the festival rounds and doesn’t yet have a U.S. release date—but we will be keeping an eye out for that announcement! [end-mark] The post <;i>;Humanist Vampire Seeking Consenting Suicidal Person<;/i>; Presents a Rather Different Kind of Teen Angst appeared first on Reactor.

News Rebecca Yarros Rebecca Yarros’ Third Empyrean Novel Has a Title and Release Date The dragons return in 2025 By Molly Templeton | Published on March 28‚ 2024 icon-comment 0 Share New Share Twitter Facebook Pinterest RSS Feed The wait isn’t over—not quite yet. But the many‚ many fans of Rebecca Yarros’ bestselling‚ beloved-by-TikTok Empyrean series can at least mark their calendars (or get their preorders on)‚ because the third book in the series now has a title and a release date. Onyx Storm will be in readers’ hands on January 21‚ 2025. Yarros made the announcement in a video aired on Good Morning America‚ in which she said that while she can’t tell fans much about the book yet‚ “There will be politics‚ new adventures‚ old enemies and of course‚ dragons.” The hugely popular series began last year with Fourth Wing‚ which follows the story of Violet Sorrengail as her life takes an unexpected path to the Basgiath War College‚ where she has to survive vicious competition—and romantic entanglements. Iron Flame came out only months later and immediately joined Fourth Wing on bestseller lists. The series is expected to ultimately include five volumes. Yarros is also returning to her romance (as opposed to romantasy)-novel roots; it was announced in the fall that she’s writing two romance novels for Amazon’s Montlake imprint. Fourth Wing was picked up for series adaptation by Amazon MGM Studios last year; Yarros is an executive producer on the adaptation‚ which doesn’t yet have a showrunner or cast. [end-mark] The post Rebecca Yarros’ Third Empyrean Novel Has a Title and Release Date appeared first on Reactor.

Column Close Reads The Artistic Bravery of Jonathan Glazer’s Under the Skin What are things we don’t want to look at‚ but should? By Leah Schnelbach | Published on March 28‚ 2024 icon-comment 0 Share New Share Twitter Facebook Pinterest RSS Feed Welcome to Close Reads! Leah Schnelbach and guest authors will dig into the tiny‚ weird moments of pop culture—from books to theme songs to viral internet hits—that have burrowed into our minds‚ found rent-stabilized apartments‚ started community gardens‚ and refused to be forced out by corporate interests. This time out‚ we take a trip to a rocky beach to talk about a haunting scene from Jonathan Glazer’s film adaptation of Under the Skin. I’m not a brave person‚ but I am trying to get better at being brave on the page. What are things I don’t want to look at‚ but should? How can I get at truth in my fiction? How can I write criticism that people find useful? When I was trying to think of artistic bravery‚ my mind washed up on the shores of Jonathan Glazer. Specifically‚ what I think of as “the beach scene” in Under the Skin. Under the Skin is the rare example of me liking a movie better than the book—mostly because I think the movie is its own entity. The book (by Michel Faber) is quite good‚ a dark sociological look at humans and the environment (it actually reminds me‚ weirdly‚ of Mary Doria Russell’s The Sparrow) that spends most of its time in the mind of an alien hunting human prey. But Glazer’s adaptation of the book is a miracle. The way he takes the book’s themes and runs into a direction that uses the strengths of film‚ color design‚ sound design‚ showing us a story rather than telling us a damn thing. When I watched it I felt like I was seeing something new. And the beach scene to me is the best example of what it does well. The scene opens with something innocuous‚ even nice. A dog is swimming in an inlet off Scottish coast. The unnamed alien‚ whom we’ve already seen prey on several men‚ watches a man swim a little further down the beach. In a cut back to the other end of the beach‚ we see a woman standing right at the shore‚ waving to a man and a baby‚ her back to the dog. Then the camera’s back with the alien‚ hanging a few feet behind her as the swimming man comes in and walks up the shore. Image: StudioCanal/A24 She begins what we know is her usual routine: asking him questions that will‚ potentially‚ get him to explain something to her—the aliens have figured out that it’s an easy way to get a man to open up—interspersed with questions that seem innocent and pleasant but are actually her way of learning if anyone will miss him if he disappears. He’s wary‚ but does tell her he’s travelling‚ alone‚ from the Czech Republic. As she’s about to press further‚ he looks past the alien and abruptly sprints off down the beach. The alien looks after him‚ her face reverting to the blankness she holds when she isn’t flirting for work. The woman we saw before is swimming out past the breakers to save the dog‚ who’s been caught in a tide. She’s fully clothed‚ even leaving her heavy jacket on. The man (presumably her partner) leaves the baby to chase after her‚ and the Czech man dives in after both of them. The camera stays at its remove. We watch the dog go under‚ then the woman‚ as the man desperately takes on wave after wave. The Czech man gets to him after he goes under once and hauls him back to shore‚ but he’s no sooner let go than the man plunges in again. He goes under as the Czech man sprawls on the beach‚ too exhausted even to crawl out of reach of the waves. The couple’s child sits alone on the rocks and screams. The alien walks down the beach‚ inexorable. She lets waves break over her legs and boots and shows no sign of cold. She stands over the Czech man. Then she sorts through the stones for a moment until she finds one that fits easily in her fist‚ and bashes the Czech man in the back of his skull. Just once‚ just enough to knock him out. She drags him back toward her waiting van. Image: StudioCanal/A24 She never looks at the baby. Just this could have been enough. Instead Glazer shows us the alien driving the man back to her house‚ the man still slumped over and unconscious in the passenger seat. He shows us the silent man‚ who appears to be the alien’s handler also in human disguise‚ back at the beach in the dark‚ gathering up the Czech man’s belongings so as to leave no trace of him. Again‚ this could have been enough. Instead‚ the camera follows the man down the beach as he retrieves the Czech’s towel. The baby is still there. Still screaming. The man takes no notice of it and leaves the way he came. But the camera doesn’t follow him‚ instead it gives us one of the only closeups of the sequence‚ sitting squat in front of the baby‚ watching it sob‚ try to stand‚ fall back down. The camera is impassive. We know that no one knows it’s here. No one will hear it over the waves. A few scenes later‚ we watch the alien as she hears a different child crying‚ in a car next to hers in traffic. In another scene‚ later still‚ she listens to a news bulletin that says the man’s body has been found on the shore‚ but that his wife and their child are still missing. Did someone else take the child? Was it taken by the sea when the tide came further in? Is it still crawling down the beach alone? We don’t know. We never know. Why did this come to me when I was rifling through moments of artistic bravery like stones on a beach? In some ways it’s the best moment in a very good movie‚ but it’s also doing something I hate. I hate child endangerment in fiction‚ and I hate animal deaths. They’re both cheap plays for emotion‚ easy screws to turn if you want your reader or audience to feel something. So why does this work so well? Part of it’s the camera placement. The camera neutrally records everything from a slight distance. It’s not a totally zoomed out God’s Eye shot that would elbow us in the ribs with the idea that some Unseen Other is watching tragedy unfold. It’s not fully the alien’s POV‚ because her actions are also recorded. It’s not zooming in on people faces. We’re never in the water with the dog or the people as they drown. Image: StudioCanal/A24 The humans act in recognizable‚ though slightly heroic ways‚ the woman going to rescue her dog with no thought for her own safety until it’s far too late‚ the husband diving in after her even though he can see how bad the tide is now. The Czech man going after both of them‚ despite already being worn out from a swim in these cold choppy waters. There too—the Czech charges after the family. He’s focused entirely on what he can do‚ which is get the husband‚ the closest one‚ the one who hasn’t been caught between tides or swept into a rock. The husband blindly going back in without even a backwards glance at the man who saved him‚ or the baby. The camera doesn’t take on the alien’s point of view as she walks up the beach to the Czech man. It stays back and lets us see that she’s simply pursuing prey. She’s not angry—this is just part of the hunt. And then my favorite moment of all: the rock selection. As the baby sits a few feet away‚ crying‚ the alien matter-of-factly chooses a rock to hit the Czech man. She’s completely focused on finding a good rock. She’s not in a hurry‚ she’s not worried about being caught‚ or the man escaping. Image: StudioCanal/A24 So many other ways it could go: the Czech man could yell to the alien for help. The wife could scream at the husband to go back to their child. The husband could look back at the kid instead of diving for his wife. He could take a swing at the Czech man rather than saving all of his panic and energy for the second attempt in the water. The husband could make the second attempt while the wife was still above water. The alien could use a rock to silence the child‚ annoyed by its screaming. She could hit the Czech inexpertly the first time‚ and have to hit him repeatedly to incapacitate him. She could reveal extreme strength (as happens in the novel) and be able to lift the man and carry him easily. The baby could try to walk to her‚ could hold its arms up to be lifted. But none of that happens. Nothing is told‚ nothing is indicated‚ nothing is underlined or highlighted or italicized. No tip into melodrama or pathos or torture porn. There is only what we see: the tide flowing in and out. The man who abandons the child to go after the woman—twice. The other man who goes in after them‚ despite knowing what he’s getting into. Who saves the person closest to him‚ and then is too exhausted to see that his rescue has been undone. The baby screaming with no awareness of what’s happening‚ only that it’s alone suddenly. The alien watching all of them‚ waiting to see what happens‚ finishing her assignment with no fuss or extraneous violence. A different movie might show us the alien going back for the baby‚ or calling the police about it. A different movie might show us an alien who listens thoughtfully to the broadcast. Instead there isn’t even the barest hint of emotion. Even when she hears the other baby crying in a later scene‚ her expression only hints at curiosity—not empathy or pity. The beach scene is only the first tiny step toward empathy with humanity as she watches a succession of people try to help each other and fail. There’s still another half hour to go before she frees one of her captives‚ and another ten minutes after that before she attempts human food. It isn’t that she hates us or fears us or that we disgust her—we are precisely as interesting as the ant she observes in the opening scene‚ the fly she watches later‚ the dog swimming out into the waves. The water flows‚ the waves crash‚ the cliffs loom over the tragedy. Nature doesn’t care that these people and their dog are dying. It doesn’t care about the terrified baby. It doesn’t care that an alien has come to Earth and is standing by and watching it all. Nature is implacable‚ unreasonable‚ unswayable. The sun goes on shining‚ the water goes on flowing. Glazer keeps his camera back and observes. He neither holds our hands (the camera is going to sit right there and watch the baby cry‚ and there’s nothing we can do about that except close our eyes and stick our fingers in our ears)‚ nor pats our heads (the radio bulletin doesn’t give us the happy news that the baby was saved‚ at least). By staying impassive and allowing cause and effect to play out‚ he creates a gap between us and the movie. We can fill that gap with emotions‚ empathy‚ sorrow‚ anger‚ a sense of futility—or we can balk and reject the film. It’s an act of artistic bravery to trust the audience to pay attention and come all the way to him‚ rather than meeting us halfway.[end-mark] The post The Artistic Bravery of Jonathan Glazer’s <;em>;Under the Skin<;/em>; appeared first on Reactor.

Book Recommendations book review Above and Below: Two Communities Come to Blows in Fathomfolk by Eliza Chan A review of Eliza Chan’s debut fantasy novel. By Martin Cahill | Published on March 28‚ 2024 icon-comment 0 Share New Share Twitter Facebook Pinterest RSS Feed In the city of Tiankawi‚ the tide is an ever present threat‚ threatening to sweep all away. As such disaster looms‚ one would hope to see communities coming together‚ putting aside differences‚ and helping keep each other’s heads above water. However‚ in Eliza Chan’s debut novel‚ Fathomfolk‚ while those tides are indeed rising‚ no one can see them for the conflicts of the every day. Humanity is threatened by the rising numbers of those known as fathomfolk‚ doing their best to shove these beings of magic and myth back in the water. There are the fathomfolk‚ forced to breathe the toxic waters of a polluted sea and still forced behind human interest. And there are those in the middle‚ not wanting to pick‚ but to save as many people from either side as possible. This churn and these rising tides‚ both literal and metaphorical‚ are front and center in this energetic debut‚ as the city of Tiankawi and Chan’s multitude of voices each try to navigate political turmoil‚ social injustice‚ and two communities about to come to blows.  From the start‚ we have a bevy of characters giving us insight into the various concerns afflicting Tiankawi. Mira‚ a half-siren woman‚ has been promoted to a position of leadership in the chinthe‚ the border guard of the city who help maintain safety—especially between humans and fathomfolk‚ a bountiful community of water-breathing peoples: mermaids‚ sirens‚ seawitches‚ kappas‚ redcaps‚ and many more. With her partner‚ Kai‚ a water dragon prince and the fathomfolk ambassador‚ she does her best to advocate for their peoples and keep the peace. Meanwhile‚ Kai’s sister Nami‚ a young water dragon of privilege who is exiled to Tiankawi after a busted heist‚ is soon attracted to the Drawbacks‚ a group of revolutionaries dedicated to tearing down the human world and bringing justice for the fathomfolk‚ who are treated like second-class citizens. And all the while Cordelia‚ a scheming seawitch‚ slithers and treads between characters and classes‚ using her shapeshifting and innate magical alchemy to her benefit‚ furthering her own personal agendas. All of these characters and their goals begin to mesh together and intertwine‚ putting not just the city of Tiankawi but all of its citizens‚ human and fathomfolk alike‚ in the gravest of danger.  Buy the Book Fathomfolk Eliza Chan Buy Book icon-close Fathomfolk Eliza Chan Buy this book from: AmazonBarnes and NobleiBooksIndieBoundTarget You can feel the love author Eliza Chan poured into this book on every page. There’s a lot of great East Asian mythology at play in the various fathomfolk brought to life‚ and the city of Tiankawi feels inspired by a number of Asian cultures from food to fashion to transportation and more. Chan makes the city and the world itself a living and breathing entity‚ adding to works like The City and The City‚ The Lies of Locke Lamora‚ and A Study in Drowning‚ in which the location itself is a character for the reader to love‚ understand‚ and root for. As we come to know Mira‚ Kai‚ Nami‚ and Cordelia‚ we see the city through their eyes‚ and see the beauty and splendor of the fathomfolk as much as we see their suffering under the law of humanity‚ the gill-less too terrified of their magical abilities and mythic forms to see them as people worthy of respect and care. The focus on social issues‚ communal solidarity‚ and navigating two worlds‚ neither of which want you‚ is when Fathomfolk is at its strongest; the movement toward justice can be a thorny one‚ made more complicated by differing perspectives and violence as a means to an end. It’s when Chan balances myth and place with theme and character that Fathomfolk shines as bright as a pearl in the sun. However‚ if you’ve been reading so far and are thinking this is all a lot to balance‚ you would be correct. There is a fine line‚ especially in epic fantasy‚ between worldbuilding and pacing‚ and unfortunately there are moments here when you can feel one beginning to tip over into the other‚ and while the writing can work‚ the flow as a whole slows down. On the other hand‚ there are moments where the story moves along at a quick clip‚ the pace beginning to smooth‚ but in doing so‚ there are bits of characterization or story revelation not quite given the heft and weight they deserve in order for the reader to really invest in either. It doesn’t take away from any of the excellent moments to be found within‚ but it is worth noting that as much as Chan sticks the landing in some places‚ there are others where there can be a bit of a stumble.  But one must ask‚ does one expect perfection from a debut novel? No. In fact‚ expecting perfection from any art‚ in any medium‚ is going to make your life a lot less joyful. I’d argue that Fathomfolk has the heart‚ the beauty‚ and the creativity to make me invested in Chan as a writer‚ making me particularly excited to see what comes next in this series and in her career as a whole. After all‚ you can work on the technical bits and push yourself to continue to grow‚ but you can’t build a heart from nothing‚ or wring blood from a stone. For all that there were some slow moments or some muddy characterization‚ there is so much love‚ energy‚ and passion poured into Fathomfolk to make this a novel worthy of your time and attention. I’m excited to dive back into whatever waters Eliza Chan wades into next. [end-mark] Fathomfolk is published by Orbit. The post Above and Below: Two Communities Come to Blows in <;em>;Fathomfolk<;/em>; by Eliza Chan appeared first on Reactor.

One of my hired Pawns in Dragon’s Dogma 2 came with Dowsing Spikes that could glow near treasure‚ but how can you get these daggers? It’s not as conventional as you may think‚ so here’s how to get these treasure detectors. Dragon’s Dogma 2: Where to find Dowsing Spikes that detect treasure While adventuring with this Pawn I came to realize that their daggers would start to glow and make noises the closer we were to loot and treasure. Seeing as finding treasure in this fantasy RPG can occasionally be difficult‚ you may be inclined to get this weapon. You can get the Dowsing Spikes daggers that glow near treasure in Dragon’s Dogma 2 by collecting a minimum of 30 Seeker Tokens. Screenshot: PC Invasion Unfortunately‚ this isn’t a weapon that you can find in chests or purchase through weapon vendors. Instead‚ you must unlock it as one of the Seeker Token rewards. After finding 30 Seeker Tokens‚ which are hidden across the open world in nooks ...

Sunstone in Dragon’s Dogma 2 is needed to enhance your equipment‚ although it’s really quite difficult to find. It’s a rare drop‚ and a rare occurrence. Where to find Sunstone in Dragon’s Dogma 2 Unfortunately‚ there’s not a lot of open information regarding Sunstone‚ as the game has only recently released. And even in my extensive play time‚ I’ve been unable to gather a complete range of information to help you out. As more information comes to light and gets discovered‚ I’ll be sure to update this guide. I do know that Sunstone can be mined in Dragon’s Dogma 2‚ like any other stone‚ but only in a specific location. You’ll find Sunstone deposits around Dragonsbreath Tower‚ but only a few. You can find Dragonsbreath Tower by following the road that snakes from Bakbattahl to the south west. Image: Fredchuckdave Sunstone can also be found from defeating certain creatures‚ with a pretty low drop chance‚ around 10% f...

One of the Achievements in Open Roads asks you to find a photo of Opal as a roller-skating waitress‚ but how can you find it? It’s not a super easy photo to find‚ and there are a few steps involved in getting it in your hands. Open Roads: Where to find the photo of Opal as a roller-skating waitress? You and your mother Opal have now made it to the dilapidated summer house. One of your smaller objectives‚ which leads to an Achievement‚ asks you to find a specific picture of your mother at her old job. You can find the photo of Opal as a roller-skating waitress in Open Roads in the bathroom on the inaccessible side of the summer home. You’ll unlock this objective by talking to your mom about the roller skates on the ground in the living area. Upon exploring further into this house you’ll realize that the water heater fell into the hallway‚ blocking the other half of the small home. The picture you’re looking for is on the other side‚ but all other door...

The Slayer Form in Baldur’s Gate 3 is a very special Feature that can only be unlocked through the Dark Urge Origin. The Dark Urge gives you the chance to do some messed-up things throughout the game and the Slayer Form is the embodiment of those choices. Here is how to get the BG3 Dark Urge Slayer Form. Baldur’s Gate 3: How to get the Dark Urge Slayer Form To unlock Slayer Form‚ you need to be doing a Dark Urge playthrough. To do that‚ you need to select Dark Urge‚ the Origin Character‚ at the beginning of a campaign. You receive Slayer Form from Sceleritas Vel after you kill Isobel (after saving her) and take a Long Rest. Isobel is first found in Last Light Inn in Act 2. Luckily the Slayer Form is rather easy to get in Baldur’s Gate 3. It just takes a good bit of time to work through the Dark Urge storyline. So‚ first up‚ just play through the game and take on the Dark Urge story as it presents itself. And whenever the murderous inclinations take over your ...

No Man’s Sky is forever exceeding expectations with incredible free updates. The Orbital update introduces ship customization so you can make the spacecraft of your dreams. Let me show you how it works. Here’s how to customize a ship in the No Man’s Sky Orbital update. How to build a custom ship in the No Man’s Sky Orbital update Ship customization can be heavy on the wallet‚ depending on how long you’ve played. That said‚ here’s what you need to do step by step. Visit a Space Port Screenshot: PC Invasion You can build and customize ships in any Space Port‚ so travel to a new one or any you’ve visited previously. The Orbital update has given Space Ports a stunning overhaul‚ and they look incredible inside and out (pictured above). Many features you’re used to in the Space Ports remain the same‚ albeit with a different layout.  Purchase a ship (optional) Screenshot: PC Invasion Depending on how far you are i...

Does Rep. Jerry Nadler‚ D-N.Y.‚ really live in New York or an alternate universe? People certainly wondered after a House Judiciary Committee hearing where the 76-year-old declared‚ “Men do not compete in women’s sports.” Is the president’s senility contagious or is Nadler living in complete denial of a global phenomenon that’s plunged communities into chaos? Not only are men competing in women’s sports‚ they’re winning women’s titles—a fact Riley Gaines was more than happy to point out. “Ironic he says this on the EXACT two-year anniversary of this photo being taken‚” Gaines‚ the former University of Kentucky swimmer‚ posted alongside a picture of Lia Thomas holding a trophy he never should have had the chance to race for. “This 6’4” man isn’t fooling anyone with any amount of common sense‚” Gaines fumed. “2 years ago today‚ I had a fire lit under me and communists like Nadler continue to fuel it.” Ironic he says this on the EXACT 2 year anniversary of this photo being taken. This 6'4" man isn't fooling anyone with any amount of common sense. 2 years ago today I had a fire lit under me and communists like Nadler continue to fuel it. https://t.co/D0xnL1kfL9 pic.twitter.com/jqouIQWCxC— Riley Gaines (@Riley_Gaines_) March 21‚ 2024 And yet‚ Nadler was so determined to suppress reality that he actually moved to have evidence of the debate stricken from the record. Rep. Harriet Hageman‚ R-Wyo.‚ had catalogued a number of times that biological boys had stolen girls’ titles and opportunities in the past several years. The group SheWon puts the number at an eye-popping 292 stolen first-place podiums. “I ask for unanimous consent to submit for the record instances of men hijacking women’s sports and the various examples that we have demonstrating not only injuries that have been suffered by women as men have participated in girls’ sports‚ but also the women—the girls and women who have been affected by this‚ including Riley Gaines‚ when Will Thomas decided to join the … women’s swimming team in Pennsylvania‚” Hageman requested. .@RepJerryNadler: "Men do not compete in women's sports." Who wants to tell him about Lia Thomas — a man‚ who has competed in women's sports.@Riley_Gaines_? pic.twitter.com/LLjUTzD1jJ— House Judiciary GOP (@JudiciaryGOP) March 21‚ 2024 Nadler‚ the committee’s ranking member‚ fired back‚ “I object to concluding these mistruths in the record.” Shocked‚ Hageman replied how telling it was that he didn’t want the facts included in the record—to which the New Yorker replied‚ “Men do not compete in women’s sports.” That’s news to the 25 (going on 26) states that have stepped in to stop this madness from overtaking their girls at the pool‚ track‚ court‚ field‚ and gym. If it wasn’t happening‚ then this was sure a monumental waste of legislative time. Slack-jawed‚ conservatives kept up the pressure‚ giving a passionate defense of girls and the opportunities‚ safety‚ and privacy they’re losing by this absurd introduction of men in women’s sports. Rep. Victoria Spartz‚ R-Ind.‚ showed a video montage of girls who’ve been physically injured playing against biological boys in volleyball‚ field hockey‚ and basketball. From Massachusetts to North Carolina‚ members watched as girls screamed in pain‚ lost teeth‚ were carted off with head injuries. One of the victims‚ Payton McNabb‚ still suffers from blurred vision‚ partial paralysis‚ and memory loss. We have examples‚ Spartz insisted‚ of “much stronger guys playing sports against biologically not-as-strong women.” “Girls actually get hurt by biological males playing sports‚” she argued. “I mean‚ it is really unbelievable for me that this is an issue that we cannot stand with women and girls on.” Instead‚ Spartz went on‚ “the other side tries to really deter the conversation in a different direction and divert it. … Let’s talk about how we are going to protect our women and girls.” When the talk turned to privacy rights‚ Rep. Eric Swalwell‚ D-Calif.‚ joined Nadler’s delusion‚ claiming that men in girls locker rooms “is not a thing.” Tell that to the 16 plaintiffs suing the NCAA. One of them‚ Gaines’ teammate and Southeastern Conference champion Kaitlynn Wheeler‚ describes in agonizing detail how they were put in a “fundamentally unfair situation that no student-athlete‚ let alone a teenage girl‚ should ever have to face.” The collegiate sports body “did not simply make my teammates in the 100-‚ 200-‚ and 500-yard freestyle races face a biological male swimmer in the pool‚” she insisted. “The NCAA also decided that Lia Thomas‚ a 6-foot-4-inch‚ 22-year-old transgender swimmer with a male body and full male genitalia‚ would be undressing with us.” She writes of that traumatizing experience in a new Washington Examiner op-ed: The moment I realized Thomas would be sharing our most private space‚ I was engulfed by a whirlwind of emotions—shock‚ disbelief‚ horror. The sanctity of our locker room‚ a space that should have been ours and ours alone‚ was shattered without warning. The presence of male genitalia in a space that was supposed to be safe‚ where we were vulnerable and exposed‚ was not just uncomfortable. It was a visceral invasion of our privacy and dignity. Feeling my stomach churn as whispers turned to silence‚ I stood there‚ naked and exposed‚ not just physically‚ but also emotionally‚ grappling with a reality I couldn’t comprehend. The NCAA’s decision to transform our sanctuary into a ‘unisex’ locker room without our consent felt like a betrayal of the highest order. It was a stark reminder that our voices‚ our comfort‚ and our boundaries did not matter. And yet‚ the effort to protect these girls is what Swalwell called “creepy”—not forcing innocent teenagers to share a room with a naked man. That’s what really stings‚ the girls say. No one has their backs. As so many female athletes admitted to Senate Republicans‚ they feel helpless. “This is kind of a theme that we got‚” Sen. Bill Cassidy‚ R-La.‚ said of his committee’s investigation on trans inclusion in sports: “‘Why am I even trying? I don’t have any hope whatsoever.’” “Our voices as women were completely silenced‚” another admitted. Fortunately for Wheeler and the thousands of American daughters living this nightmare‚ Republicans do care. Over the objections of Democrats‚ conservatives on the House Judiciary Committee passed the Protection of Women in Olympic &; Amateur Sports Act—authored by Rep. Greg Steube‚ R-Fla.—on March 21. Today‚ @JudiciaryGOP passed the Protection of Women in Olympic &; Amateur Sports Act. As a mother of two girls and someone who has worked in male-dominated professions her entire life‚ Rep. Spartz will stand with women to protect their rights &; opportunities as athletes. pic.twitter.com/CmUnUYJ1zG— Rep. Victoria Spartz (@RepSpartz) March 21‚ 2024 To Wheeler‚ who watched Thomas stand on top of a podium meant for her sport‚ maybe it will mean the end of the silence of the adults in the room. “That silence spoke volumes of the injustice‚ pain‚ and anger brewing in the hearts of not just the competitors‚ but of every woman forced into silence by a system that refuses to listen.” Until then‚ she vowed‚ women will “stand against the erasure of our voices‚” whether or not this president or his party stands with them. “We demand a future where female athletes are respected‚ where our safety and privacy are not just acknowledged‚ but fiercely protected.” Originally published by The Washington Stand The Daily Signal publishes a variety of perspectives. Nothing written here is to be construed as representing the views of The Heritage Foundation. The post Democrats Claim Men ‘Don’t Compete in Women’s Sports’ as Stolen Athletic Titles Near 300 appeared first on The Daily Signal.